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The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.
Lavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.
Upon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.
Unfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.
Upon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain. | [
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"A maiden aunt.",
"A maiden aunt. "
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"content": "Who raised a young Lavretsky?",
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" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.",
" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.",
" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.",
" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.",
" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.",
" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain."
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The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.
Lavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.
Upon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.
Unfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.
Upon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain. | [
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"Varvara wasn't actually dead.",
"His wife was not really dead"
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"content": "After learning of Varvara's death, why can't Lavretsky and Liza be together?",
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" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.",
" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.",
" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.",
" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.",
" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.",
" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain."
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The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.
Lavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.
Upon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.
Unfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.
Upon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain. | [
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"At the opera.",
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" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.",
" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.",
" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.",
" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.",
" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.",
" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain."
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The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.
Lavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.
Upon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.
Unfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.
Upon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain. | [
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" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.",
" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.",
" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.",
" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.",
" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.",
" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain."
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The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.
Lavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.
Upon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.
Unfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.
Upon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain. | [
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"Liza and Lenochka.",
"Liza and Lenochka. "
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"content": "What are the names of Lavretsky's cousin Marya's daughters?",
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" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.",
" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.",
" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.",
" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.",
" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.",
" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain."
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The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.
Lavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.
Upon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.
Unfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.
Upon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain. | [
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"Walking between choirs.",
"She is walking from choir to choir."
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" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.",
" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.",
" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.",
" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.",
" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.",
" The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.\nLavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. Following their wedding, the two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.\nUpon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to the coquettish Varvara Pavlovna's social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.\nUnfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.\nUpon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain."
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Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through! | [
[
"Creon, the King of Corinth.",
"Creon."
]
] | [
{
"content": "Who is Glauce's father?",
"role": "user"
}
] | 36,806 | [
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!"
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Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through! | [
[
"To send her into exile.",
"Reveals the plan to send her into exile. "
]
] | [
{
"content": "What does Creon plan for Medea in anticipation of her wrath?",
"role": "user"
}
] | 36,807 | [
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!"
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Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through! | [
[
"That she will be his mistress.",
"she would be his mistress"
]
] | [
{
"content": "What relationship with Medea does Jason anticipate after he marries Glauce?",
"role": "user"
}
] | 36,808 | [
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!"
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Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through! | [
[
"She does not believe him.",
"She warns him that he will regret his marriage with the princess."
]
] | [
{
"content": "How does Medea respond to Jason after he arrives to explain his apparent betrayal?",
"role": "user"
}
] | 36,809 | [
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!"
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Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through! | [
[
"That he is infertile, that despite his marriage he has no children.",
"he is childless"
]
] | [
{
"content": "What problem does Aegeus, the Kind of Athens, share with Medea?",
"role": "user"
}
] | 36,810 | [
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!"
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Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through! | [
[
"She will give him drugs to end his infertility.",
"to make him fertile"
]
] | [
{
"content": "What does Medea promise Aegeus in return for his letting her stay in Athens?",
"role": "user"
}
] | 36,811 | [
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!"
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Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through! | [
[
"Because it will hurt Jason.",
"revenge on her husband"
]
] | [
{
"content": "Why does Medea resolve to kill her children?",
"role": "user"
}
] | 36,812 | [
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!"
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Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through! | [
[
"She poisons her robe and coronet and then gives them to Glauce.",
"giving her poison robes "
]
] | [
{
"content": "How does Medea plan to murder Glauce?",
"role": "user"
}
] | 36,813 | [
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!"
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Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through! | [
[
"When he tries to save his daughter he comes in contact with the golden robe and coronet and is also poisoned.",
"He gets poisoned while trying to save his daughter from the robes."
]
] | [
{
"content": "How does Creon die?",
"role": "user"
}
] | 36,814 | [
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!"
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Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through! | [
[
"With a knife.",
"With a knife"
]
] | [
{
"content": "How does Medea kill her children?",
"role": "user"
}
] | 36,815 | [
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!"
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Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through! | [
[
"In Corinth",
"Corinth"
]
] | [
{
"content": "Where does the story take place?",
"role": "user"
}
] | 36,816 | [
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!"
] | [
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Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through! | [
[
"He wants to marry Glauce",
"he is marrying Glauce "
]
] | [
{
"content": "Why does Medea rage at Jason?",
"role": "user"
}
] | 36,817 | [
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!"
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Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through! | [
[
"To send Medea into exile",
"Medea's exile "
]
] | [
{
"content": "What is Creon planning?",
"role": "user"
}
] | 36,818 | [
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!"
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Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through! | [
[
"Medea",
"Medea"
]
] | [
{
"content": "Who does Jason want to keep as his mistress after he is married to Glauce?",
"role": "user"
}
] | 36,819 | [
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!"
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Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through! | [
[
"That he is having fertility problems in his marriage",
"He has no children. "
]
] | [
{
"content": "What does King Aegeus reveal to Medea?",
"role": "user"
}
] | 36,820 | [
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!"
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Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through! | [
[
"By poisoning some robes and killing her own children",
"by killing her children"
]
] | [
{
"content": "How does Medea plan to get revenge?",
"role": "user"
}
] | 36,821 | [
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!"
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Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through! | [
[
"Medea's children",
"The children. "
]
] | [
{
"content": "Who delivers the poisoned robes?",
"role": "user"
}
] | 36,822 | [
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!"
] | [
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Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through! | [
[
"Glauce and Creon",
"Glauce and Creon. "
]
] | [
{
"content": "Which two people die from the poisoned robes?",
"role": "user"
}
] | 36,823 | [
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!"
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Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through! | [
[
"She realizes the pain she might go through",
"She is worried about the pain it will put her through"
]
] | [
{
"content": "Why does Medea hesitate to kill her own sons?",
"role": "user"
}
] | 36,824 | [
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!"
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Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through! | [
[
"Athens",
"Athens"
]
] | [
{
"content": "Where does Medea escape to?",
"role": "user"
}
] | 36,825 | [
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!"
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Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through! | [
[
"Her husband.",
"Jason"
]
] | [
{
"content": "Who does Madea want revenge on?",
"role": "user"
}
] | 36,826 | [
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!"
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Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through! | [
[
"He is unfaithful.",
"Her husband is marrying another woman"
]
] | [
{
"content": "Why does she want revenge?",
"role": "user"
}
] | 36,827 | [
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!"
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Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through! | [
[
"In Corinth.",
"In Corinth"
]
] | [
{
"content": "Where is the play set?",
"role": "user"
}
] | 36,828 | [
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!"
] | [
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Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through! | [
[
"Creon.",
"Creon"
]
] | [
{
"content": "Who wants to send Madea into exile?",
"role": "user"
}
] | 36,829 | [
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!"
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Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through! | [
[
"He is infertile.",
"he is childless"
]
] | [
{
"content": "What is Aegeus's problem?",
"role": "user"
}
] | 36,830 | [
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!"
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Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through! | [
[
"Murder them.",
"murder them"
]
] | [
{
"content": "What does Madea want to do to Creon and Glauce?",
"role": "user"
}
] | 36,831 | [
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!"
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Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through! | [
[
"She poisons them with a robe and crown.",
"with poisoned clothing"
]
] | [
{
"content": "How does Madea kill Glauce and Creon?",
"role": "user"
}
] | 36,832 | [
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!"
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Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through! | [
[
"To hurt Jason.",
"to cause jason pain"
]
] | [
{
"content": "Why does Madea want to kill the children?",
"role": "user"
}
] | 36,833 | [
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!"
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Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through! | [
[
"Knife.",
"knife"
]
] | [
{
"content": "What does Madea use to kill the children?",
"role": "user"
}
] | 36,834 | [
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!"
] | [
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Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through! | [
[
"To Athens.",
"To Athens"
]
] | [
{
"content": "Where does Madea take the children's bodies?",
"role": "user"
}
] | 36,835 | [
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!",
" Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children.\nCreon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him (\"I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?\"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: \"Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials.\"\nIn the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees.\nMedea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers.\nForgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.\nIn the next scene a messenger recounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well.\nAlas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.\nWhile Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:\n\"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.\"\nShe escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:\nManifold are thy shapings, Providence!\nMany a hopeless matter gods arrange.\nWhat we expected never came to pass,\nWhat we did not expect the gods brought to bear;\nSo have things gone, this whole experience through!"
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The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.
The house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.
Phoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.
Judge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.
New evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past. | [
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"Hepzibah Pyncheon.",
"Matthew Maule"
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"content": "Who owned the House Of Seven Gables in the Mid Nintenth century?",
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" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past."
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The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.
The house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.
Phoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.
Judge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.
New evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past. | [
[
"Witchcraft and Sudden Death.",
"It was haunted, accusations of witchcraft, sudden deaths"
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"content": "What rumors surrounded the houses past?",
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" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past."
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The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.
The house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.
Phoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.
Judge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.
New evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past. | [
[
"30 years.",
"thirty years"
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"content": "How long did Clifford serve time for man slaughter ?",
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" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past."
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The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.
The house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.
Phoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.
Judge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.
New evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past. | [
[
"Matthew Maule.",
"Mathew Mule "
]
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"content": "Who originally owned the house?",
"role": "user"
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" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past."
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The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.
The house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.
Phoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.
Judge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.
New evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past. | [
[
"He put a curse on the Pyncheon.",
"laid a curse on the family"
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"content": "What did Matthew do as he died?",
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" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past."
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The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.
The house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.
Phoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.
Judge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.
New evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past. | [
[
"Colonel Pyncheon.",
"Colonel Pyncheon"
]
] | [
{
"content": "Whos picture hangs on the wall to this day?",
"role": "user"
}
] | 36,841 | [
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past."
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36840,
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36836
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The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.
The house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.
Phoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.
Judge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.
New evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past. | [
[
"The missing deed to land.",
"Information about land in Maine. "
]
] | [
{
"content": "What is Judge Pyncheon looking for?",
"role": "user"
}
] | 36,842 | [
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past."
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The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.
The house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.
Phoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.
Judge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.
New evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past. | [
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" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past."
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The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.
The house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.
Phoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.
Judge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.
New evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past. | [
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"content": "Who actually killed Cliffords uncle?",
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] | 36,844 | [
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past."
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The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.
The house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.
Phoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.
Judge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.
New evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past. | [
[
"Behind the portrait of the Colonel.",
"Behind Colonel Pyncheon's portrait"
]
] | [
{
"content": "Where is the missing deed found?",
"role": "user"
}
] | 36,845 | [
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past."
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The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.
The house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.
Phoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.
Judge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.
New evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past. | [
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"Late 17th century.",
"17th Century"
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" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past."
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The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.
The house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.
Phoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.
Judge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.
New evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past. | [
[
"Hepzibah Pyncheon.",
"Hepzibah Pynchon "
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"content": "Who was the current resident of the house?",
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" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past."
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The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.
The house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.
Phoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.
Judge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.
New evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past. | [
[
"Pyncheon's brother Clifford.",
"Clifford"
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{
"content": "Who completed 30 years for murder?",
"role": "user"
}
] | 36,848 | [
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past."
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The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.
The house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.
Phoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.
Judge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.
New evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past. | [
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" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past."
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The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.
The house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.
Phoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.
Judge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.
New evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past. | [
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" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past."
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The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.
The house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.
Phoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.
Judge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.
New evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past. | [
[
"He was isolation from humanity and lost his youth in prison. ",
"He completed a 30 year murder sentence for something he didn't do"
]
] | [
{
"content": "Why was Clifford depressed?",
"role": "user"
}
] | 36,851 | [
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past."
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The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.
The house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.
Phoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.
Judge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.
New evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past. | [
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" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past."
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The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.
The house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.
Phoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.
Judge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.
New evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past. | [
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"Colonel Pyncheon's chair"
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" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past."
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The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.
The house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.
Phoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.
Judge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.
New evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past. | [
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"Hepziban and Clifford sudden disappearance.",
"Hepzibah and clifford sudden disapperance"
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"content": "What did the townsfolk begin to gossip about?",
"role": "user"
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" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past."
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The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.
The house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.
Phoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.
Judge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.
New evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past. | [
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" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past."
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The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.
The house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.
Phoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.
Judge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.
New evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past. | [
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" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past."
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The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.
The house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.
Phoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.
Judge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.
New evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past. | [
[
"The 17th century",
"17th century"
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{
"content": "In what century was the house built?",
"role": "user"
}
] | 36,857 | [
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past."
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The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.
The house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.
Phoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.
Judge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.
New evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past. | [
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"Matthew Maule"
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"content": "Who is the current owner of the house?",
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" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past."
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The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.
The house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.
Phoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.
Judge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.
New evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past. | [
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"to support her brother",
"to support her brother clifford"
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"content": "Why does Hepzibah open up a shop in a side room in the mansion?",
"role": "user"
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" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past."
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The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.
The house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.
Phoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.
Judge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.
New evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past. | [
[
"Clifford",
"Clifford"
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{
"content": "What is the name of Hepzibah's brother?",
"role": "user"
}
] | 36,860 | [
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past."
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The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.
The house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.
Phoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.
Judge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.
New evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past. | [
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" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past."
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The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.
The house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.
Phoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.
Judge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.
New evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past. | [
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" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past."
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The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.
The house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.
Phoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.
Judge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.
New evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past. | [
[
"Witchcraft",
"practicing witchcraft"
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{
"content": "What crime was Matthew Maule accused of?",
"role": "user"
}
] | 36,863 | [
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past."
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The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.
The house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.
Phoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.
Judge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.
New evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past. | [
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" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past."
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The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.
The house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.
Phoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.
Judge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.
New evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past. | [
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"content": "Who placed a curse on the Pyncheon family as a result of Colonel Pyncheon's role in their fate?",
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" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past.",
" The novel is set in the mid-19th century, but flashbacks to the history of the house, which was built in the late 17th century, are set in other periods. The house of the title is a gloomy New England mansion, haunted since its construction by fraudulent dealings, accusations of witchcraft, and sudden death. The current resident, the dignified but desperately poor Hepzibah Pyncheon, opens a shop in a side room to support her brother Clifford, who has completed a thirty-year sentence for murder. She refuses all assistance from her wealthy but unpleasant cousin, Judge Jaffrey Pyncheon. A distant relative, the lively and pretty young Phoebe, arrives and quickly becomes invaluable, charming customers and rousing Clifford from depression. A delicate romance grows between Phoebe and the mysterious attic lodger Holgrave, who is writing a history of the Pyncheon family.\nThe house was built on ground wrongfully seized from its rightful owner, Matthew Maule, by Colonel Pyncheon, the founder of the Massachusetts branch of the family. Maule was accused of practicing witchcraft and was executed. According to legend, at his death Maule laid a curse upon the Pyncheon family. During the housewarming festivities, Colonel Pyncheon was found dead in his armchair; whether he actually died from the curse or from a congenital disease is unclear. His portrait remains in the house as a symbol of its dark past and the weight of the curse upon the spirit of its inhabitants.\nPhoebe arranges to visit her country home, but plans to return soon. Clifford, depressed by his isolation from humanity and his lost youth spent in prison, stands at a large arched window above the stairs and has a sudden urge to jump. The departure of Phoebe, the focus of his attention, leaves him bed-ridden.\nJudge Pyncheon arrives to find information about land in Maine, rumored to belong to the family. He threatens Clifford with an insanity hearing unless he reveals details about the land or the location of the missing deed. Clifford is unable to comply. Before Clifford can be brought before the Judge (which would destroy Clifford's fragile psyche), the Judge mysteriously dies while sitting in Colonel Pyncheon's chair. Hepzibah and Clifford flee by train. The next day, Phoebe returns and finds that Holgrave has discovered the Judge's body. The townsfolk begin to gossip about Hepzibah and Clifford's sudden disappearance. Phoebe is relieved when Hepzibah and Clifford return, having recovered their wits.\nNew evidence in the crime that sent Clifford to prison proves his innocence. He was framed for the death of his uncle by Jaffrey, who was even then looking for the missing deed. Holgrave is revealed as Maule's descendant, but he bears no ill will toward the Pyncheons. The missing deed is discovered behind the old Colonel's portrait, but the paper is worthless: the land is already settled by others. The characters abandon the old house and start a new life in the countryside, free from the burdens of the past."
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"Dracula's Guest" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned "unholy" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.
After a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb "graven in great Russian letters" is: 'The dead travel fast.' which was an ode to the fable Lenore.
The Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a "beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier". The force of the following thunder peal throws the Englishman from the doorway (experienced as "being grasped as by the hand of a giant") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.
The Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is "a wolf - and yet not a wolf". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. "See comrades, the wolf has been lying on him and keeping his blood warm". Later, the Englishman finds his neck pained when a horseman comments on it.
When the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of "dangers from snow and wolves and night" in a telegram received by the hotel during the time the Englishman was away. | [
[
"\"The Dead travel fast\"",
"The dead travel fast."
]
] | [
{
"content": "What is inscribed on the back of the tombstone?",
"role": "user"
}
] | 36,866 | [
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away."
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"Dracula's Guest" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned "unholy" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.
After a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb "graven in great Russian letters" is: 'The dead travel fast.' which was an ode to the fable Lenore.
The Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a "beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier". The force of the following thunder peal throws the Englishman from the doorway (experienced as "being grasped as by the hand of a giant") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.
The Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is "a wolf - and yet not a wolf". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. "See comrades, the wolf has been lying on him and keeping his blood warm". Later, the Englishman finds his neck pained when a horseman comments on it.
When the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of "dangers from snow and wolves and night" in a telegram received by the hotel during the time the Englishman was away. | [
[
"Munich",
"Munich"
]
] | [
{
"content": "Where did the narrator go before Transylvania?",
"role": "user"
}
] | 36,867 | [
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away."
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36869,
36870,
36871,
36866
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"Dracula's Guest" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned "unholy" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.
After a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb "graven in great Russian letters" is: 'The dead travel fast.' which was an ode to the fable Lenore.
The Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a "beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier". The force of the following thunder peal throws the Englishman from the doorway (experienced as "being grasped as by the hand of a giant") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.
The Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is "a wolf - and yet not a wolf". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. "See comrades, the wolf has been lying on him and keeping his blood warm". Later, the Englishman finds his neck pained when a horseman comments on it.
When the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of "dangers from snow and wolves and night" in a telegram received by the hotel during the time the Englishman was away. | [
[
"A wolf",
"Wolf"
]
] | [
{
"content": "What does the Englishmanwake to on his chest?",
"role": "user"
}
] | 36,868 | [
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away."
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"Dracula's Guest" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned "unholy" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.
After a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb "graven in great Russian letters" is: 'The dead travel fast.' which was an ode to the fable Lenore.
The Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a "beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier". The force of the following thunder peal throws the Englishman from the doorway (experienced as "being grasped as by the hand of a giant") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.
The Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is "a wolf - and yet not a wolf". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. "See comrades, the wolf has been lying on him and keeping his blood warm". Later, the Englishman finds his neck pained when a horseman comments on it.
When the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of "dangers from snow and wolves and night" in a telegram received by the hotel during the time the Englishman was away. | [
[
"Jonathon Harker",
"Unnamed Englishman"
]
] | [
{
"content": "Who is the narrator?",
"role": "user"
}
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" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away."
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"Dracula's Guest" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned "unholy" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.
After a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb "graven in great Russian letters" is: 'The dead travel fast.' which was an ode to the fable Lenore.
The Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a "beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier". The force of the following thunder peal throws the Englishman from the doorway (experienced as "being grasped as by the hand of a giant") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.
The Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is "a wolf - and yet not a wolf". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. "See comrades, the wolf has been lying on him and keeping his blood warm". Later, the Englishman finds his neck pained when a horseman comments on it.
When the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of "dangers from snow and wolves and night" in a telegram received by the hotel during the time the Englishman was away. | [
[
"Dracula",
"Dracula"
]
] | [
{
"content": "Who warned the the men that found Harker?",
"role": "user"
}
] | 36,870 | [
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away."
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36869,
36871,
36867,
36866
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"Dracula's Guest" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned "unholy" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.
After a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb "graven in great Russian letters" is: 'The dead travel fast.' which was an ode to the fable Lenore.
The Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a "beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier". The force of the following thunder peal throws the Englishman from the doorway (experienced as "being grasped as by the hand of a giant") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.
The Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is "a wolf - and yet not a wolf". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. "See comrades, the wolf has been lying on him and keeping his blood warm". Later, the Englishman finds his neck pained when a horseman comments on it.
When the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of "dangers from snow and wolves and night" in a telegram received by the hotel during the time the Englishman was away. | [
[
"By telegram",
"Telegram"
]
] | [
{
"content": "How did Dracula warn the men?",
"role": "user"
}
] | 36,871 | [
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away."
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"Dracula's Guest" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned "unholy" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.
After a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb "graven in great Russian letters" is: 'The dead travel fast.' which was an ode to the fable Lenore.
The Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a "beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier". The force of the following thunder peal throws the Englishman from the doorway (experienced as "being grasped as by the hand of a giant") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.
The Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is "a wolf - and yet not a wolf". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. "See comrades, the wolf has been lying on him and keeping his blood warm". Later, the Englishman finds his neck pained when a horseman comments on it.
When the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of "dangers from snow and wolves and night" in a telegram received by the hotel during the time the Englishman was away. | [
[
"Walpurgis Night",
"Walourgis"
]
] | [
{
"content": "What night did Harker wander off?",
"role": "user"
}
] | 36,872 | [
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away."
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"Dracula's Guest" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned "unholy" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.
After a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb "graven in great Russian letters" is: 'The dead travel fast.' which was an ode to the fable Lenore.
The Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a "beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier". The force of the following thunder peal throws the Englishman from the doorway (experienced as "being grasped as by the hand of a giant") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.
The Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is "a wolf - and yet not a wolf". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. "See comrades, the wolf has been lying on him and keeping his blood warm". Later, the Englishman finds his neck pained when a horseman comments on it.
When the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of "dangers from snow and wolves and night" in a telegram received by the hotel during the time the Englishman was away. | [
[
"He was superstitious",
"Fear & superstition"
]
] | [
{
"content": "Why did the carriage driver leave?",
"role": "user"
}
] | 36,873 | [
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away."
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"Dracula's Guest" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned "unholy" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.
After a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb "graven in great Russian letters" is: 'The dead travel fast.' which was an ode to the fable Lenore.
The Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a "beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier". The force of the following thunder peal throws the Englishman from the doorway (experienced as "being grasped as by the hand of a giant") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.
The Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is "a wolf - and yet not a wolf". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. "See comrades, the wolf has been lying on him and keeping his blood warm". Later, the Englishman finds his neck pained when a horseman comments on it.
When the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of "dangers from snow and wolves and night" in a telegram received by the hotel during the time the Englishman was away. | [
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"A woman",
"A beautiful women in the tomb, with red cheeks."
]
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{
"content": "What did Harker see in the tomb?",
"role": "user"
}
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" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away."
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"Dracula's Guest" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned "unholy" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.
After a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb "graven in great Russian letters" is: 'The dead travel fast.' which was an ode to the fable Lenore.
The Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a "beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier". The force of the following thunder peal throws the Englishman from the doorway (experienced as "being grasped as by the hand of a giant") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.
The Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is "a wolf - and yet not a wolf". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. "See comrades, the wolf has been lying on him and keeping his blood warm". Later, the Englishman finds his neck pained when a horseman comments on it.
When the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of "dangers from snow and wolves and night" in a telegram received by the hotel during the time the Englishman was away. | [
[
"Countess Dolingen of Gratz",
"Countess Dolingen of Gratz."
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{
"content": "Who's tomb did Harker take refuge in?",
"role": "user"
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" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away."
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"Dracula's Guest" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned "unholy" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.
After a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb "graven in great Russian letters" is: 'The dead travel fast.' which was an ode to the fable Lenore.
The Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a "beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier". The force of the following thunder peal throws the Englishman from the doorway (experienced as "being grasped as by the hand of a giant") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.
The Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is "a wolf - and yet not a wolf". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. "See comrades, the wolf has been lying on him and keeping his blood warm". Later, the Englishman finds his neck pained when a horseman comments on it.
When the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of "dangers from snow and wolves and night" in a telegram received by the hotel during the time the Englishman was away. | [
[
"In a grove of cypress and yew trees that is acutally a cemetery.",
"Cemetary"
]
] | [
{
"content": "When the Englishman reaches the desolate valley, where does he seek shelter?",
"role": "user"
}
] | 36,876 | [
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away."
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"Dracula's Guest" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned "unholy" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.
After a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb "graven in great Russian letters" is: 'The dead travel fast.' which was an ode to the fable Lenore.
The Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a "beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier". The force of the following thunder peal throws the Englishman from the doorway (experienced as "being grasped as by the hand of a giant") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.
The Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is "a wolf - and yet not a wolf". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. "See comrades, the wolf has been lying on him and keeping his blood warm". Later, the Englishman finds his neck pained when a horseman comments on it.
When the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of "dangers from snow and wolves and night" in a telegram received by the hotel during the time the Englishman was away. | [
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"When the location was illuminated by moonlight.",
"When the site gets illuminated in moonlight."
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"content": " When did the Englishman notice that he was actually in a cemetery?",
"role": "user"
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" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away."
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"Dracula's Guest" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned "unholy" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.
After a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb "graven in great Russian letters" is: 'The dead travel fast.' which was an ode to the fable Lenore.
The Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a "beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier". The force of the following thunder peal throws the Englishman from the doorway (experienced as "being grasped as by the hand of a giant") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.
The Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is "a wolf - and yet not a wolf". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. "See comrades, the wolf has been lying on him and keeping his blood warm". Later, the Englishman finds his neck pained when a horseman comments on it.
When the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of "dangers from snow and wolves and night" in a telegram received by the hotel during the time the Englishman was away. | [
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"A gigantic wolf with flaming eyes.",
"Wolf"
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"content": "What was licking at the thoart of the Englishman when he finally summoned the courage to open his eyes?",
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" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away."
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"Dracula's Guest" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned "unholy" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.
After a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb "graven in great Russian letters" is: 'The dead travel fast.' which was an ode to the fable Lenore.
The Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a "beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier". The force of the following thunder peal throws the Englishman from the doorway (experienced as "being grasped as by the hand of a giant") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.
The Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is "a wolf - and yet not a wolf". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. "See comrades, the wolf has been lying on him and keeping his blood warm". Later, the Englishman finds his neck pained when a horseman comments on it.
When the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of "dangers from snow and wolves and night" in a telegram received by the hotel during the time the Englishman was away. | [
[
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"Military horsemen"
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{
"content": "Who chased away the gigantic wolf?",
"role": "user"
}
] | 36,879 | [
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away."
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36869,
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"Dracula's Guest" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned "unholy" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.
After a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb "graven in great Russian letters" is: 'The dead travel fast.' which was an ode to the fable Lenore.
The Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a "beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier". The force of the following thunder peal throws the Englishman from the doorway (experienced as "being grasped as by the hand of a giant") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.
The Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is "a wolf - and yet not a wolf". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. "See comrades, the wolf has been lying on him and keeping his blood warm". Later, the Englishman finds his neck pained when a horseman comments on it.
When the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of "dangers from snow and wolves and night" in a telegram received by the hotel during the time the Englishman was away. | [
[
"The dangers from snow and wolves and night.",
"The \"dangers of snow and wolves and night.\""
]
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{
"content": "What did Dracula alert his employees of regarding the Englishman's travels?",
"role": "user"
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" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away."
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"Dracula's Guest" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned "unholy" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.
After a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb "graven in great Russian letters" is: 'The dead travel fast.' which was an ode to the fable Lenore.
The Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a "beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier". The force of the following thunder peal throws the Englishman from the doorway (experienced as "being grasped as by the hand of a giant") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.
The Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is "a wolf - and yet not a wolf". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. "See comrades, the wolf has been lying on him and keeping his blood warm". Later, the Englishman finds his neck pained when a horseman comments on it.
When the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of "dangers from snow and wolves and night" in a telegram received by the hotel during the time the Englishman was away. | [
[
"His neck.",
" His neck pained him later."
]
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{
"content": "After the Englishman's ordeal what later began to pain him?",
"role": "user"
}
] | 36,881 | [
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away."
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"Dracula's Guest" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned "unholy" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.
After a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb "graven in great Russian letters" is: 'The dead travel fast.' which was an ode to the fable Lenore.
The Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a "beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier". The force of the following thunder peal throws the Englishman from the doorway (experienced as "being grasped as by the hand of a giant") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.
The Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is "a wolf - and yet not a wolf". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. "See comrades, the wolf has been lying on him and keeping his blood warm". Later, the Englishman finds his neck pained when a horseman comments on it.
When the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of "dangers from snow and wolves and night" in a telegram received by the hotel during the time the Englishman was away. | [
[
"The wolf was keeping his body warm.",
"To keep his blood warm"
]
] | [
{
"content": "Why was the wolf laying on the Englishman?",
"role": "user"
}
] | 36,882 | [
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away."
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"Dracula's Guest" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned "unholy" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.
After a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb "graven in great Russian letters" is: 'The dead travel fast.' which was an ode to the fable Lenore.
The Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a "beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier". The force of the following thunder peal throws the Englishman from the doorway (experienced as "being grasped as by the hand of a giant") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.
The Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is "a wolf - and yet not a wolf". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. "See comrades, the wolf has been lying on him and keeping his blood warm". Later, the Englishman finds his neck pained when a horseman comments on it.
When the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of "dangers from snow and wolves and night" in a telegram received by the hotel during the time the Englishman was away. | [
[
"The tombstone ruin.",
"The tomb"
]
] | [
{
"content": "During the thunderstorm what was left bloodied?",
"role": "user"
}
] | 36,883 | [
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away."
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"Dracula's Guest" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned "unholy" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.
After a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb "graven in great Russian letters" is: 'The dead travel fast.' which was an ode to the fable Lenore.
The Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a "beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier". The force of the following thunder peal throws the Englishman from the doorway (experienced as "being grasped as by the hand of a giant") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.
The Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is "a wolf - and yet not a wolf". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. "See comrades, the wolf has been lying on him and keeping his blood warm". Later, the Englishman finds his neck pained when a horseman comments on it.
When the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of "dangers from snow and wolves and night" in a telegram received by the hotel during the time the Englishman was away. | [
[
"The dead travel fast.",
"\"The dead travel fast\""
]
] | [
{
"content": "What was inscribed on the back of the tomb in Russian?",
"role": "user"
}
] | 36,884 | [
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away."
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"Dracula's Guest" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned "unholy" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.
After a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb "graven in great Russian letters" is: 'The dead travel fast.' which was an ode to the fable Lenore.
The Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a "beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier". The force of the following thunder peal throws the Englishman from the doorway (experienced as "being grasped as by the hand of a giant") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.
The Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is "a wolf - and yet not a wolf". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. "See comrades, the wolf has been lying on him and keeping his blood warm". Later, the Englishman finds his neck pained when a horseman comments on it.
When the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of "dangers from snow and wolves and night" in a telegram received by the hotel during the time the Englishman was away. | [
[
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"Dracula"
]
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{
"content": "Who was the Englishman's host?",
"role": "user"
}
] | 36,885 | [
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away."
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"Dracula's Guest" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned "unholy" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.
After a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb "graven in great Russian letters" is: 'The dead travel fast.' which was an ode to the fable Lenore.
The Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a "beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier". The force of the following thunder peal throws the Englishman from the doorway (experienced as "being grasped as by the hand of a giant") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.
The Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is "a wolf - and yet not a wolf". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. "See comrades, the wolf has been lying on him and keeping his blood warm". Later, the Englishman finds his neck pained when a horseman comments on it.
When the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of "dangers from snow and wolves and night" in a telegram received by the hotel during the time the Englishman was away. | [
[
" a cemetary",
"the doorway of a tomb"
]
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{
"content": "Where does the Englishman first take shelter during the storm?",
"role": "user"
}
] | 36,886 | [
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away."
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"Dracula's Guest" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned "unholy" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.
After a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb "graven in great Russian letters" is: 'The dead travel fast.' which was an ode to the fable Lenore.
The Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a "beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier". The force of the following thunder peal throws the Englishman from the doorway (experienced as "being grasped as by the hand of a giant") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.
The Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is "a wolf - and yet not a wolf". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. "See comrades, the wolf has been lying on him and keeping his blood warm". Later, the Englishman finds his neck pained when a horseman comments on it.
When the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of "dangers from snow and wolves and night" in a telegram received by the hotel during the time the Englishman was away. | [
[
"The door of a tomb",
"in the tomb"
]
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{
"content": "When it starts to hail where does the Englishman take shelter?",
"role": "user"
}
] | 36,887 | [
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away."
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"Dracula's Guest" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned "unholy" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.
After a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb "graven in great Russian letters" is: 'The dead travel fast.' which was an ode to the fable Lenore.
The Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a "beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier". The force of the following thunder peal throws the Englishman from the doorway (experienced as "being grasped as by the hand of a giant") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.
The Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is "a wolf - and yet not a wolf". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. "See comrades, the wolf has been lying on him and keeping his blood warm". Later, the Englishman finds his neck pained when a horseman comments on it.
When the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of "dangers from snow and wolves and night" in a telegram received by the hotel during the time the Englishman was away. | [
[
"it destroys the tomb and the woman in it",
"The tomb is destroyed"
]
] | [
{
"content": "What happens when lightening strikes the iron spike?",
"role": "user"
}
] | 36,888 | [
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away."
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"Dracula's Guest" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned "unholy" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.
After a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb "graven in great Russian letters" is: 'The dead travel fast.' which was an ode to the fable Lenore.
The Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a "beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier". The force of the following thunder peal throws the Englishman from the doorway (experienced as "being grasped as by the hand of a giant") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.
The Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is "a wolf - and yet not a wolf". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. "See comrades, the wolf has been lying on him and keeping his blood warm". Later, the Englishman finds his neck pained when a horseman comments on it.
When the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of "dangers from snow and wolves and night" in a telegram received by the hotel during the time the Englishman was away. | [
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"content": "Who is standing over the Englishman when he awakes after the tomb is destroyed?",
"role": "user"
}
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" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away."
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"Dracula's Guest" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned "unholy" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.
After a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb "graven in great Russian letters" is: 'The dead travel fast.' which was an ode to the fable Lenore.
The Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a "beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier". The force of the following thunder peal throws the Englishman from the doorway (experienced as "being grasped as by the hand of a giant") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.
The Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is "a wolf - and yet not a wolf". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. "See comrades, the wolf has been lying on him and keeping his blood warm". Later, the Englishman finds his neck pained when a horseman comments on it.
When the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of "dangers from snow and wolves and night" in a telegram received by the hotel during the time the Englishman was away. | [
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{
"content": "Who chases the wolf away?",
"role": "user"
}
] | 36,890 | [
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away."
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"Dracula's Guest" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned "unholy" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.
After a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb "graven in great Russian letters" is: 'The dead travel fast.' which was an ode to the fable Lenore.
The Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a "beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier". The force of the following thunder peal throws the Englishman from the doorway (experienced as "being grasped as by the hand of a giant") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.
The Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is "a wolf - and yet not a wolf". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. "See comrades, the wolf has been lying on him and keeping his blood warm". Later, the Englishman finds his neck pained when a horseman comments on it.
When the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of "dangers from snow and wolves and night" in a telegram received by the hotel during the time the Englishman was away. | [
[
"by laying on him",
"Laying on top of him"
]
] | [
{
"content": "How did the wolf keep the Englishman warm?",
"role": "user"
}
] | 36,891 | [
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away."
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"Dracula's Guest" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned "unholy" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.
After a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb "graven in great Russian letters" is: 'The dead travel fast.' which was an ode to the fable Lenore.
The Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a "beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier". The force of the following thunder peal throws the Englishman from the doorway (experienced as "being grasped as by the hand of a giant") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.
The Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is "a wolf - and yet not a wolf". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. "See comrades, the wolf has been lying on him and keeping his blood warm". Later, the Englishman finds his neck pained when a horseman comments on it.
When the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of "dangers from snow and wolves and night" in a telegram received by the hotel during the time the Englishman was away. | [
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"content": "Who alerted the horsemen of the dangers awaiting the Englishman?",
"role": "user"
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" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away."
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"Dracula's Guest" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned "unholy" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.
After a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb "graven in great Russian letters" is: 'The dead travel fast.' which was an ode to the fable Lenore.
The Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a "beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier". The force of the following thunder peal throws the Englishman from the doorway (experienced as "being grasped as by the hand of a giant") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.
The Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is "a wolf - and yet not a wolf". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. "See comrades, the wolf has been lying on him and keeping his blood warm". Later, the Englishman finds his neck pained when a horseman comments on it.
When the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of "dangers from snow and wolves and night" in a telegram received by the hotel during the time the Englishman was away. | [
[
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"By telegram"
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{
"content": "How did Dracula warn of the dangers of the wolf and snow?",
"role": "user"
}
] | 36,893 | [
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away."
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"Dracula's Guest" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned "unholy" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.
After a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb "graven in great Russian letters" is: 'The dead travel fast.' which was an ode to the fable Lenore.
The Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a "beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier". The force of the following thunder peal throws the Englishman from the doorway (experienced as "being grasped as by the hand of a giant") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.
The Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is "a wolf - and yet not a wolf". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. "See comrades, the wolf has been lying on him and keeping his blood warm". Later, the Englishman finds his neck pained when a horseman comments on it.
When the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of "dangers from snow and wolves and night" in a telegram received by the hotel during the time the Englishman was away. | [
[
"a tall thin stranger",
"A tall and thin stranger"
]
] | [
{
"content": "When the Englishman first sets out what scares the horses?",
"role": "user"
}
] | 36,894 | [
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away."
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"Dracula's Guest" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned "unholy" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.
After a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb "graven in great Russian letters" is: 'The dead travel fast.' which was an ode to the fable Lenore.
The Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a "beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier". The force of the following thunder peal throws the Englishman from the doorway (experienced as "being grasped as by the hand of a giant") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.
The Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is "a wolf - and yet not a wolf". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. "See comrades, the wolf has been lying on him and keeping his blood warm". Later, the Englishman finds his neck pained when a horseman comments on it.
When the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of "dangers from snow and wolves and night" in a telegram received by the hotel during the time the Englishman was away. | [
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" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away.",
" \"Dracula's Guest\" follows an Englishman (whose name is never mentioned but is presumed to be Jonathan Harker) on a visit to Munich before leaving for Transylvania. It is Walpurgis Night, and in spite of the hotelier's warning to not be late back, the young man later leaves his carriage and wanders toward the direction of an abandoned \"unholy\" village. As the carriage departs with the frightened and superstitious driver, a tall and thin stranger scares the horses at the crest of a hill.\nAfter a few hours, as he reaches a desolate valley, it begins to snow; as a dark storm gathers intensity, the Englishman takes shelter in a grove of cypress and yew trees. The Englishman's location is soon illuminated by moonlight to be a cemetery, and he finds himself before a marble tomb with a large iron stake driven through the roof, the inscription reads: Countess Dolingen of Gratz / in Styria / sought and found death / 1801. Inscribed on the back of the tomb \"graven in great Russian letters\" is: 'The dead travel fast.' which was an ode to the fable Lenore.\nThe Englishman is disturbed to be in such a place on such a night and as the storm breaks anew, he is forced by pelting hail to shelter in the doorway of the tomb. As he does so, the bronze door of the tomb opens under his weight and a flash of forked lightning shows the interior - and a \"beautiful woman with rounded cheeks and red lips, seemingly sleeping on a bier\". The force of the following thunder peal throws the Englishman from the doorway (experienced as \"being grasped as by the hand of a giant\") as another lightning bolt strikes the iron spike, destroying the tomb and the now screaming woman inside.\nThe Englishman's troubles are not quite over, as he painfully regains his senses from the ordeal, he is repulsed by a feeling of loathing which he connects to a warm feeling in his chest and a licking at this throat. The Englishman summons courage to peek through his eyelashes and discovers a gigantic wolf with flaming eyes is attending him.\nMilitary horsemen are the next to wake the semi-conscious man, chasing the wolf away with torches and guns. Some horsemen return to the main party and Harker after the chase, reporting that they had not found 'him' and that the Englishman's animal is \"a wolf - and yet not a wolf\". They also note that blood is on the ruined tomb, yet the Englishman's neck is unbloodied. \"See comrades, the wolf has been lying on him and keeping his blood warm\". Later, the Englishman finds his neck pained when a horseman comments on it.\nWhen the Englishman is taken back to his hotel by the men, he is informed that it is none other than his expectant host Dracula that has alerted his employees, the horsemen, of \"dangers from snow and wolves and night\" in a telegram received by the hotel during the time the Englishman was away."
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The Assembly of Gods is composed of 301 seven line stanzas which have the standard ababbcc rhyme pattern of the rhyme royal. The meter, as critics have noted, is irregular. The poem can be broken into five main sections: an introduction, three distinct but connected narrative episodes and a conclusion.
In the introduction, the poet establishes the setting using conventional astrological and geographical references which place the poem within the traditional framework of a dream poem and introduces the dreamer who sits “all solytary alone besyde a lake,/ Musyng on a maner how that I myght make/ Reason & Sensualyte in oon to acorde” (1). But, before he can think through his puzzle he is overcome by sleep. Morpheus comes and escorts him to the court of Minos which is being held at the estate of Pluto. There the dreamer watches as Diana and Neptune accuse Aeolus of flouting their authority and discrediting them in the eyes of their worshippers. Before the trial can be concluded a messenger comes from Apollo, asking Minos to hold off on the judgement and inviting all the gods to his palace for a banquet. In Apollo’s palace, Diana’s complaint is resolved and the dreamer describes each of the gods and goddesses as they sit down to eat. The gods won’t allow Discord into their feast, but as she is leaving she meets with Atropos and sends him to stir things up. Atropos goes to the gods and complains that while the gods claim to have given him power to bring death to any who disobeyed or despised them, there is one person who has escaped his power. He threatens to leave their employ if they don’t make good on their promise to him and give him power over this person. All the gods agree that they will bring down this one who defies Atropos. They quickly resolve the dispute between Neptune and Aeolus to ensure that the offender will not be able to escape in the sea or air and then ask who it is that has defied them. When Atropos tells them that it is Virtue, Pluto says he knows him well and the only thing that can harm Virtue is Vice, Pluto’s bastard son. Vice is called for, and he assembles his host for battle. Morpheus warns Virtue of the impending battle and Virtue prepares his host and heads to the field of Microcosm, hoping to arrive before Vice and thus have the advantage. The descriptions of the assembly of these armies are made up long lists of characters representing various vices and virtues and types of people under the influence of Vice and Virtue.
The second narrative episode of the poem is a psychomachian battle between the hosts of Virtue and Vice for the field of Microcosm, which is possessed by Freewill. As the battle heats up, Freewill joins forces with Vice and they begin to drive Virtue and his host from the field. Perseverance comes and rallies Virtue’s troops, defeats Vice and wins the field. Freewill goes through a process of cleansing and is made a vassal of Virtue. Reason and Sadness are given control of Microcosm and set about cleansing it of the weeds planted there by Sensuality. A disgusted Atropos determines to leave the service of the “counterfete” gods saying, “For oo God ther ys that can euery dell / Turne as hym lyst, bothe dry & whete, / In to whos seruyce I shall assay to gete” (39). He goes in search of the Lord of Light and is told by Righteousness that the Lord of Light has been his master all along. Atropos’ name is changed to Death and he is sent to Microcosm. Priesthood and the sacraments are sent to the field to prepare it for the coming of Death who causes the grass to wither and shuts the gates on the field.
The third episode of the poem takes place in the arbor of Doctrine where the dreamer is taken to be instructed in the meaning of the vision he has seen. The walls of the arbor are painted with images of people from the history of the world which Doctrine uses to explain the meaning of the dream and the genesis of the pagan deities and to encourage the dreamer in the right way of life. When she is done, the dreamer remembers his question about the accord of reason and sensuality and he asks her to “determyne that doute” (56). She is surprised that he has not figured it out yet, and with that, Death appears. As the dreamer hides in fear of Death, Reason and Sensuality appear and agree that people should fear death.
After Doctrine explains this accord to the dreamer he is taken back to his spot by the lake. He awakens and writes his dream, exhorting those who read it, hear it read or see it to learn from it and asking the blessings of heaven on those who do. | [
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"At estate of Pluto",
"The estate of Pluto"
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" The Assembly of Gods is composed of 301 seven line stanzas which have the standard ababbcc rhyme pattern of the rhyme royal. The meter, as critics have noted, is irregular. The poem can be broken into five main sections: an introduction, three distinct but connected narrative episodes and a conclusion.\nIn the introduction, the poet establishes the setting using conventional astrological and geographical references which place the poem within the traditional framework of a dream poem and introduces the dreamer who sits “all solytary alone besyde a lake,/ Musyng on a maner how that I myght make/ Reason & Sensualyte in oon to acorde” (1). But, before he can think through his puzzle he is overcome by sleep. Morpheus comes and escorts him to the court of Minos which is being held at the estate of Pluto. There the dreamer watches as Diana and Neptune accuse Aeolus of flouting their authority and discrediting them in the eyes of their worshippers. Before the trial can be concluded a messenger comes from Apollo, asking Minos to hold off on the judgement and inviting all the gods to his palace for a banquet. In Apollo’s palace, Diana’s complaint is resolved and the dreamer describes each of the gods and goddesses as they sit down to eat. The gods won’t allow Discord into their feast, but as she is leaving she meets with Atropos and sends him to stir things up. Atropos goes to the gods and complains that while the gods claim to have given him power to bring death to any who disobeyed or despised them, there is one person who has escaped his power. He threatens to leave their employ if they don’t make good on their promise to him and give him power over this person. All the gods agree that they will bring down this one who defies Atropos. They quickly resolve the dispute between Neptune and Aeolus to ensure that the offender will not be able to escape in the sea or air and then ask who it is that has defied them. When Atropos tells them that it is Virtue, Pluto says he knows him well and the only thing that can harm Virtue is Vice, Pluto’s bastard son. Vice is called for, and he assembles his host for battle. Morpheus warns Virtue of the impending battle and Virtue prepares his host and heads to the field of Microcosm, hoping to arrive before Vice and thus have the advantage. The descriptions of the assembly of these armies are made up long lists of characters representing various vices and virtues and types of people under the influence of Vice and Virtue.\nThe second narrative episode of the poem is a psychomachian battle between the hosts of Virtue and Vice for the field of Microcosm, which is possessed by Freewill. As the battle heats up, Freewill joins forces with Vice and they begin to drive Virtue and his host from the field. Perseverance comes and rallies Virtue’s troops, defeats Vice and wins the field. Freewill goes through a process of cleansing and is made a vassal of Virtue. Reason and Sadness are given control of Microcosm and set about cleansing it of the weeds planted there by Sensuality. A disgusted Atropos determines to leave the service of the “counterfete” gods saying, “For oo God ther ys that can euery dell / Turne as hym lyst, bothe dry & whete, / In to whos seruyce I shall assay to gete” (39). He goes in search of the Lord of Light and is told by Righteousness that the Lord of Light has been his master all along. Atropos’ name is changed to Death and he is sent to Microcosm. Priesthood and the sacraments are sent to the field to prepare it for the coming of Death who causes the grass to wither and shuts the gates on the field.\nThe third episode of the poem takes place in the arbor of Doctrine where the dreamer is taken to be instructed in the meaning of the vision he has seen. The walls of the arbor are painted with images of people from the history of the world which Doctrine uses to explain the meaning of the dream and the genesis of the pagan deities and to encourage the dreamer in the right way of life. When she is done, the dreamer remembers his question about the accord of reason and sensuality and he asks her to “determyne that doute” (56). She is surprised that he has not figured it out yet, and with that, Death appears. As the dreamer hides in fear of Death, Reason and Sensuality appear and agree that people should fear death.\nAfter Doctrine explains this accord to the dreamer he is taken back to his spot by the lake. He awakens and writes his dream, exhorting those who read it, hear it read or see it to learn from it and asking the blessings of heaven on those who do.",
" The Assembly of Gods is composed of 301 seven line stanzas which have the standard ababbcc rhyme pattern of the rhyme royal. The meter, as critics have noted, is irregular. The poem can be broken into five main sections: an introduction, three distinct but connected narrative episodes and a conclusion.\nIn the introduction, the poet establishes the setting using conventional astrological and geographical references which place the poem within the traditional framework of a dream poem and introduces the dreamer who sits “all solytary alone besyde a lake,/ Musyng on a maner how that I myght make/ Reason & Sensualyte in oon to acorde” (1). But, before he can think through his puzzle he is overcome by sleep. Morpheus comes and escorts him to the court of Minos which is being held at the estate of Pluto. There the dreamer watches as Diana and Neptune accuse Aeolus of flouting their authority and discrediting them in the eyes of their worshippers. Before the trial can be concluded a messenger comes from Apollo, asking Minos to hold off on the judgement and inviting all the gods to his palace for a banquet. In Apollo’s palace, Diana’s complaint is resolved and the dreamer describes each of the gods and goddesses as they sit down to eat. The gods won’t allow Discord into their feast, but as she is leaving she meets with Atropos and sends him to stir things up. Atropos goes to the gods and complains that while the gods claim to have given him power to bring death to any who disobeyed or despised them, there is one person who has escaped his power. He threatens to leave their employ if they don’t make good on their promise to him and give him power over this person. All the gods agree that they will bring down this one who defies Atropos. They quickly resolve the dispute between Neptune and Aeolus to ensure that the offender will not be able to escape in the sea or air and then ask who it is that has defied them. When Atropos tells them that it is Virtue, Pluto says he knows him well and the only thing that can harm Virtue is Vice, Pluto’s bastard son. Vice is called for, and he assembles his host for battle. Morpheus warns Virtue of the impending battle and Virtue prepares his host and heads to the field of Microcosm, hoping to arrive before Vice and thus have the advantage. The descriptions of the assembly of these armies are made up long lists of characters representing various vices and virtues and types of people under the influence of Vice and Virtue.\nThe second narrative episode of the poem is a psychomachian battle between the hosts of Virtue and Vice for the field of Microcosm, which is possessed by Freewill. As the battle heats up, Freewill joins forces with Vice and they begin to drive Virtue and his host from the field. Perseverance comes and rallies Virtue’s troops, defeats Vice and wins the field. Freewill goes through a process of cleansing and is made a vassal of Virtue. Reason and Sadness are given control of Microcosm and set about cleansing it of the weeds planted there by Sensuality. A disgusted Atropos determines to leave the service of the “counterfete” gods saying, “For oo God ther ys that can euery dell / Turne as hym lyst, bothe dry & whete, / In to whos seruyce I shall assay to gete” (39). He goes in search of the Lord of Light and is told by Righteousness that the Lord of Light has been his master all along. Atropos’ name is changed to Death and he is sent to Microcosm. Priesthood and the sacraments are sent to the field to prepare it for the coming of Death who causes the grass to wither and shuts the gates on the field.\nThe third episode of the poem takes place in the arbor of Doctrine where the dreamer is taken to be instructed in the meaning of the vision he has seen. The walls of the arbor are painted with images of people from the history of the world which Doctrine uses to explain the meaning of the dream and the genesis of the pagan deities and to encourage the dreamer in the right way of life. When she is done, the dreamer remembers his question about the accord of reason and sensuality and he asks her to “determyne that doute” (56). She is surprised that he has not figured it out yet, and with that, Death appears. As the dreamer hides in fear of Death, Reason and Sensuality appear and agree that people should fear death.\nAfter Doctrine explains this accord to the dreamer he is taken back to his spot by the lake. He awakens and writes his dream, exhorting those who read it, hear it read or see it to learn from it and asking the blessings of heaven on those who do.",
" The Assembly of Gods is composed of 301 seven line stanzas which have the standard ababbcc rhyme pattern of the rhyme royal. The meter, as critics have noted, is irregular. The poem can be broken into five main sections: an introduction, three distinct but connected narrative episodes and a conclusion.\nIn the introduction, the poet establishes the setting using conventional astrological and geographical references which place the poem within the traditional framework of a dream poem and introduces the dreamer who sits “all solytary alone besyde a lake,/ Musyng on a maner how that I myght make/ Reason & Sensualyte in oon to acorde” (1). But, before he can think through his puzzle he is overcome by sleep. Morpheus comes and escorts him to the court of Minos which is being held at the estate of Pluto. There the dreamer watches as Diana and Neptune accuse Aeolus of flouting their authority and discrediting them in the eyes of their worshippers. Before the trial can be concluded a messenger comes from Apollo, asking Minos to hold off on the judgement and inviting all the gods to his palace for a banquet. In Apollo’s palace, Diana’s complaint is resolved and the dreamer describes each of the gods and goddesses as they sit down to eat. The gods won’t allow Discord into their feast, but as she is leaving she meets with Atropos and sends him to stir things up. Atropos goes to the gods and complains that while the gods claim to have given him power to bring death to any who disobeyed or despised them, there is one person who has escaped his power. He threatens to leave their employ if they don’t make good on their promise to him and give him power over this person. All the gods agree that they will bring down this one who defies Atropos. They quickly resolve the dispute between Neptune and Aeolus to ensure that the offender will not be able to escape in the sea or air and then ask who it is that has defied them. When Atropos tells them that it is Virtue, Pluto says he knows him well and the only thing that can harm Virtue is Vice, Pluto’s bastard son. Vice is called for, and he assembles his host for battle. Morpheus warns Virtue of the impending battle and Virtue prepares his host and heads to the field of Microcosm, hoping to arrive before Vice and thus have the advantage. The descriptions of the assembly of these armies are made up long lists of characters representing various vices and virtues and types of people under the influence of Vice and Virtue.\nThe second narrative episode of the poem is a psychomachian battle between the hosts of Virtue and Vice for the field of Microcosm, which is possessed by Freewill. As the battle heats up, Freewill joins forces with Vice and they begin to drive Virtue and his host from the field. Perseverance comes and rallies Virtue’s troops, defeats Vice and wins the field. Freewill goes through a process of cleansing and is made a vassal of Virtue. Reason and Sadness are given control of Microcosm and set about cleansing it of the weeds planted there by Sensuality. A disgusted Atropos determines to leave the service of the “counterfete” gods saying, “For oo God ther ys that can euery dell / Turne as hym lyst, bothe dry & whete, / In to whos seruyce I shall assay to gete” (39). He goes in search of the Lord of Light and is told by Righteousness that the Lord of Light has been his master all along. Atropos’ name is changed to Death and he is sent to Microcosm. Priesthood and the sacraments are sent to the field to prepare it for the coming of Death who causes the grass to wither and shuts the gates on the field.\nThe third episode of the poem takes place in the arbor of Doctrine where the dreamer is taken to be instructed in the meaning of the vision he has seen. The walls of the arbor are painted with images of people from the history of the world which Doctrine uses to explain the meaning of the dream and the genesis of the pagan deities and to encourage the dreamer in the right way of life. When she is done, the dreamer remembers his question about the accord of reason and sensuality and he asks her to “determyne that doute” (56). She is surprised that he has not figured it out yet, and with that, Death appears. As the dreamer hides in fear of Death, Reason and Sensuality appear and agree that people should fear death.\nAfter Doctrine explains this accord to the dreamer he is taken back to his spot by the lake. He awakens and writes his dream, exhorting those who read it, hear it read or see it to learn from it and asking the blessings of heaven on those who do.",
" The Assembly of Gods is composed of 301 seven line stanzas which have the standard ababbcc rhyme pattern of the rhyme royal. The meter, as critics have noted, is irregular. The poem can be broken into five main sections: an introduction, three distinct but connected narrative episodes and a conclusion.\nIn the introduction, the poet establishes the setting using conventional astrological and geographical references which place the poem within the traditional framework of a dream poem and introduces the dreamer who sits “all solytary alone besyde a lake,/ Musyng on a maner how that I myght make/ Reason & Sensualyte in oon to acorde” (1). But, before he can think through his puzzle he is overcome by sleep. Morpheus comes and escorts him to the court of Minos which is being held at the estate of Pluto. There the dreamer watches as Diana and Neptune accuse Aeolus of flouting their authority and discrediting them in the eyes of their worshippers. Before the trial can be concluded a messenger comes from Apollo, asking Minos to hold off on the judgement and inviting all the gods to his palace for a banquet. In Apollo’s palace, Diana’s complaint is resolved and the dreamer describes each of the gods and goddesses as they sit down to eat. The gods won’t allow Discord into their feast, but as she is leaving she meets with Atropos and sends him to stir things up. Atropos goes to the gods and complains that while the gods claim to have given him power to bring death to any who disobeyed or despised them, there is one person who has escaped his power. He threatens to leave their employ if they don’t make good on their promise to him and give him power over this person. All the gods agree that they will bring down this one who defies Atropos. They quickly resolve the dispute between Neptune and Aeolus to ensure that the offender will not be able to escape in the sea or air and then ask who it is that has defied them. When Atropos tells them that it is Virtue, Pluto says he knows him well and the only thing that can harm Virtue is Vice, Pluto’s bastard son. Vice is called for, and he assembles his host for battle. Morpheus warns Virtue of the impending battle and Virtue prepares his host and heads to the field of Microcosm, hoping to arrive before Vice and thus have the advantage. The descriptions of the assembly of these armies are made up long lists of characters representing various vices and virtues and types of people under the influence of Vice and Virtue.\nThe second narrative episode of the poem is a psychomachian battle between the hosts of Virtue and Vice for the field of Microcosm, which is possessed by Freewill. As the battle heats up, Freewill joins forces with Vice and they begin to drive Virtue and his host from the field. Perseverance comes and rallies Virtue’s troops, defeats Vice and wins the field. Freewill goes through a process of cleansing and is made a vassal of Virtue. Reason and Sadness are given control of Microcosm and set about cleansing it of the weeds planted there by Sensuality. A disgusted Atropos determines to leave the service of the “counterfete” gods saying, “For oo God ther ys that can euery dell / Turne as hym lyst, bothe dry & whete, / In to whos seruyce I shall assay to gete” (39). He goes in search of the Lord of Light and is told by Righteousness that the Lord of Light has been his master all along. Atropos’ name is changed to Death and he is sent to Microcosm. Priesthood and the sacraments are sent to the field to prepare it for the coming of Death who causes the grass to wither and shuts the gates on the field.\nThe third episode of the poem takes place in the arbor of Doctrine where the dreamer is taken to be instructed in the meaning of the vision he has seen. The walls of the arbor are painted with images of people from the history of the world which Doctrine uses to explain the meaning of the dream and the genesis of the pagan deities and to encourage the dreamer in the right way of life. When she is done, the dreamer remembers his question about the accord of reason and sensuality and he asks her to “determyne that doute” (56). She is surprised that he has not figured it out yet, and with that, Death appears. As the dreamer hides in fear of Death, Reason and Sensuality appear and agree that people should fear death.\nAfter Doctrine explains this accord to the dreamer he is taken back to his spot by the lake. He awakens and writes his dream, exhorting those who read it, hear it read or see it to learn from it and asking the blessings of heaven on those who do.",
" The Assembly of Gods is composed of 301 seven line stanzas which have the standard ababbcc rhyme pattern of the rhyme royal. The meter, as critics have noted, is irregular. The poem can be broken into five main sections: an introduction, three distinct but connected narrative episodes and a conclusion.\nIn the introduction, the poet establishes the setting using conventional astrological and geographical references which place the poem within the traditional framework of a dream poem and introduces the dreamer who sits “all solytary alone besyde a lake,/ Musyng on a maner how that I myght make/ Reason & Sensualyte in oon to acorde” (1). But, before he can think through his puzzle he is overcome by sleep. Morpheus comes and escorts him to the court of Minos which is being held at the estate of Pluto. There the dreamer watches as Diana and Neptune accuse Aeolus of flouting their authority and discrediting them in the eyes of their worshippers. Before the trial can be concluded a messenger comes from Apollo, asking Minos to hold off on the judgement and inviting all the gods to his palace for a banquet. In Apollo’s palace, Diana’s complaint is resolved and the dreamer describes each of the gods and goddesses as they sit down to eat. The gods won’t allow Discord into their feast, but as she is leaving she meets with Atropos and sends him to stir things up. Atropos goes to the gods and complains that while the gods claim to have given him power to bring death to any who disobeyed or despised them, there is one person who has escaped his power. He threatens to leave their employ if they don’t make good on their promise to him and give him power over this person. All the gods agree that they will bring down this one who defies Atropos. They quickly resolve the dispute between Neptune and Aeolus to ensure that the offender will not be able to escape in the sea or air and then ask who it is that has defied them. When Atropos tells them that it is Virtue, Pluto says he knows him well and the only thing that can harm Virtue is Vice, Pluto’s bastard son. Vice is called for, and he assembles his host for battle. Morpheus warns Virtue of the impending battle and Virtue prepares his host and heads to the field of Microcosm, hoping to arrive before Vice and thus have the advantage. The descriptions of the assembly of these armies are made up long lists of characters representing various vices and virtues and types of people under the influence of Vice and Virtue.\nThe second narrative episode of the poem is a psychomachian battle between the hosts of Virtue and Vice for the field of Microcosm, which is possessed by Freewill. As the battle heats up, Freewill joins forces with Vice and they begin to drive Virtue and his host from the field. Perseverance comes and rallies Virtue’s troops, defeats Vice and wins the field. Freewill goes through a process of cleansing and is made a vassal of Virtue. Reason and Sadness are given control of Microcosm and set about cleansing it of the weeds planted there by Sensuality. A disgusted Atropos determines to leave the service of the “counterfete” gods saying, “For oo God ther ys that can euery dell / Turne as hym lyst, bothe dry & whete, / In to whos seruyce I shall assay to gete” (39). He goes in search of the Lord of Light and is told by Righteousness that the Lord of Light has been his master all along. Atropos’ name is changed to Death and he is sent to Microcosm. Priesthood and the sacraments are sent to the field to prepare it for the coming of Death who causes the grass to wither and shuts the gates on the field.\nThe third episode of the poem takes place in the arbor of Doctrine where the dreamer is taken to be instructed in the meaning of the vision he has seen. The walls of the arbor are painted with images of people from the history of the world which Doctrine uses to explain the meaning of the dream and the genesis of the pagan deities and to encourage the dreamer in the right way of life. When she is done, the dreamer remembers his question about the accord of reason and sensuality and he asks her to “determyne that doute” (56). She is surprised that he has not figured it out yet, and with that, Death appears. As the dreamer hides in fear of Death, Reason and Sensuality appear and agree that people should fear death.\nAfter Doctrine explains this accord to the dreamer he is taken back to his spot by the lake. He awakens and writes his dream, exhorting those who read it, hear it read or see it to learn from it and asking the blessings of heaven on those who do."
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The Assembly of Gods is composed of 301 seven line stanzas which have the standard ababbcc rhyme pattern of the rhyme royal. The meter, as critics have noted, is irregular. The poem can be broken into five main sections: an introduction, three distinct but connected narrative episodes and a conclusion.
In the introduction, the poet establishes the setting using conventional astrological and geographical references which place the poem within the traditional framework of a dream poem and introduces the dreamer who sits “all solytary alone besyde a lake,/ Musyng on a maner how that I myght make/ Reason & Sensualyte in oon to acorde” (1). But, before he can think through his puzzle he is overcome by sleep. Morpheus comes and escorts him to the court of Minos which is being held at the estate of Pluto. There the dreamer watches as Diana and Neptune accuse Aeolus of flouting their authority and discrediting them in the eyes of their worshippers. Before the trial can be concluded a messenger comes from Apollo, asking Minos to hold off on the judgement and inviting all the gods to his palace for a banquet. In Apollo’s palace, Diana’s complaint is resolved and the dreamer describes each of the gods and goddesses as they sit down to eat. The gods won’t allow Discord into their feast, but as she is leaving she meets with Atropos and sends him to stir things up. Atropos goes to the gods and complains that while the gods claim to have given him power to bring death to any who disobeyed or despised them, there is one person who has escaped his power. He threatens to leave their employ if they don’t make good on their promise to him and give him power over this person. All the gods agree that they will bring down this one who defies Atropos. They quickly resolve the dispute between Neptune and Aeolus to ensure that the offender will not be able to escape in the sea or air and then ask who it is that has defied them. When Atropos tells them that it is Virtue, Pluto says he knows him well and the only thing that can harm Virtue is Vice, Pluto’s bastard son. Vice is called for, and he assembles his host for battle. Morpheus warns Virtue of the impending battle and Virtue prepares his host and heads to the field of Microcosm, hoping to arrive before Vice and thus have the advantage. The descriptions of the assembly of these armies are made up long lists of characters representing various vices and virtues and types of people under the influence of Vice and Virtue.
The second narrative episode of the poem is a psychomachian battle between the hosts of Virtue and Vice for the field of Microcosm, which is possessed by Freewill. As the battle heats up, Freewill joins forces with Vice and they begin to drive Virtue and his host from the field. Perseverance comes and rallies Virtue’s troops, defeats Vice and wins the field. Freewill goes through a process of cleansing and is made a vassal of Virtue. Reason and Sadness are given control of Microcosm and set about cleansing it of the weeds planted there by Sensuality. A disgusted Atropos determines to leave the service of the “counterfete” gods saying, “For oo God ther ys that can euery dell / Turne as hym lyst, bothe dry & whete, / In to whos seruyce I shall assay to gete” (39). He goes in search of the Lord of Light and is told by Righteousness that the Lord of Light has been his master all along. Atropos’ name is changed to Death and he is sent to Microcosm. Priesthood and the sacraments are sent to the field to prepare it for the coming of Death who causes the grass to wither and shuts the gates on the field.
The third episode of the poem takes place in the arbor of Doctrine where the dreamer is taken to be instructed in the meaning of the vision he has seen. The walls of the arbor are painted with images of people from the history of the world which Doctrine uses to explain the meaning of the dream and the genesis of the pagan deities and to encourage the dreamer in the right way of life. When she is done, the dreamer remembers his question about the accord of reason and sensuality and he asks her to “determyne that doute” (56). She is surprised that he has not figured it out yet, and with that, Death appears. As the dreamer hides in fear of Death, Reason and Sensuality appear and agree that people should fear death.
After Doctrine explains this accord to the dreamer he is taken back to his spot by the lake. He awakens and writes his dream, exhorting those who read it, hear it read or see it to learn from it and asking the blessings of heaven on those who do. | [
[
"Aoelus discrediting them in the eyes of whoshippers.",
"Discrediting them before their worshippers."
]
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"content": "What did Diana and Neptune accused Aeolus of doing?",
"role": "user"
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" The Assembly of Gods is composed of 301 seven line stanzas which have the standard ababbcc rhyme pattern of the rhyme royal. The meter, as critics have noted, is irregular. The poem can be broken into five main sections: an introduction, three distinct but connected narrative episodes and a conclusion.\nIn the introduction, the poet establishes the setting using conventional astrological and geographical references which place the poem within the traditional framework of a dream poem and introduces the dreamer who sits “all solytary alone besyde a lake,/ Musyng on a maner how that I myght make/ Reason & Sensualyte in oon to acorde” (1). But, before he can think through his puzzle he is overcome by sleep. Morpheus comes and escorts him to the court of Minos which is being held at the estate of Pluto. There the dreamer watches as Diana and Neptune accuse Aeolus of flouting their authority and discrediting them in the eyes of their worshippers. Before the trial can be concluded a messenger comes from Apollo, asking Minos to hold off on the judgement and inviting all the gods to his palace for a banquet. In Apollo’s palace, Diana’s complaint is resolved and the dreamer describes each of the gods and goddesses as they sit down to eat. The gods won’t allow Discord into their feast, but as she is leaving she meets with Atropos and sends him to stir things up. Atropos goes to the gods and complains that while the gods claim to have given him power to bring death to any who disobeyed or despised them, there is one person who has escaped his power. He threatens to leave their employ if they don’t make good on their promise to him and give him power over this person. All the gods agree that they will bring down this one who defies Atropos. They quickly resolve the dispute between Neptune and Aeolus to ensure that the offender will not be able to escape in the sea or air and then ask who it is that has defied them. When Atropos tells them that it is Virtue, Pluto says he knows him well and the only thing that can harm Virtue is Vice, Pluto’s bastard son. Vice is called for, and he assembles his host for battle. Morpheus warns Virtue of the impending battle and Virtue prepares his host and heads to the field of Microcosm, hoping to arrive before Vice and thus have the advantage. The descriptions of the assembly of these armies are made up long lists of characters representing various vices and virtues and types of people under the influence of Vice and Virtue.\nThe second narrative episode of the poem is a psychomachian battle between the hosts of Virtue and Vice for the field of Microcosm, which is possessed by Freewill. As the battle heats up, Freewill joins forces with Vice and they begin to drive Virtue and his host from the field. Perseverance comes and rallies Virtue’s troops, defeats Vice and wins the field. Freewill goes through a process of cleansing and is made a vassal of Virtue. Reason and Sadness are given control of Microcosm and set about cleansing it of the weeds planted there by Sensuality. A disgusted Atropos determines to leave the service of the “counterfete” gods saying, “For oo God ther ys that can euery dell / Turne as hym lyst, bothe dry & whete, / In to whos seruyce I shall assay to gete” (39). He goes in search of the Lord of Light and is told by Righteousness that the Lord of Light has been his master all along. Atropos’ name is changed to Death and he is sent to Microcosm. Priesthood and the sacraments are sent to the field to prepare it for the coming of Death who causes the grass to wither and shuts the gates on the field.\nThe third episode of the poem takes place in the arbor of Doctrine where the dreamer is taken to be instructed in the meaning of the vision he has seen. The walls of the arbor are painted with images of people from the history of the world which Doctrine uses to explain the meaning of the dream and the genesis of the pagan deities and to encourage the dreamer in the right way of life. When she is done, the dreamer remembers his question about the accord of reason and sensuality and he asks her to “determyne that doute” (56). She is surprised that he has not figured it out yet, and with that, Death appears. As the dreamer hides in fear of Death, Reason and Sensuality appear and agree that people should fear death.\nAfter Doctrine explains this accord to the dreamer he is taken back to his spot by the lake. He awakens and writes his dream, exhorting those who read it, hear it read or see it to learn from it and asking the blessings of heaven on those who do.",
" The Assembly of Gods is composed of 301 seven line stanzas which have the standard ababbcc rhyme pattern of the rhyme royal. The meter, as critics have noted, is irregular. The poem can be broken into five main sections: an introduction, three distinct but connected narrative episodes and a conclusion.\nIn the introduction, the poet establishes the setting using conventional astrological and geographical references which place the poem within the traditional framework of a dream poem and introduces the dreamer who sits “all solytary alone besyde a lake,/ Musyng on a maner how that I myght make/ Reason & Sensualyte in oon to acorde” (1). But, before he can think through his puzzle he is overcome by sleep. Morpheus comes and escorts him to the court of Minos which is being held at the estate of Pluto. There the dreamer watches as Diana and Neptune accuse Aeolus of flouting their authority and discrediting them in the eyes of their worshippers. Before the trial can be concluded a messenger comes from Apollo, asking Minos to hold off on the judgement and inviting all the gods to his palace for a banquet. In Apollo’s palace, Diana’s complaint is resolved and the dreamer describes each of the gods and goddesses as they sit down to eat. The gods won’t allow Discord into their feast, but as she is leaving she meets with Atropos and sends him to stir things up. Atropos goes to the gods and complains that while the gods claim to have given him power to bring death to any who disobeyed or despised them, there is one person who has escaped his power. He threatens to leave their employ if they don’t make good on their promise to him and give him power over this person. All the gods agree that they will bring down this one who defies Atropos. They quickly resolve the dispute between Neptune and Aeolus to ensure that the offender will not be able to escape in the sea or air and then ask who it is that has defied them. When Atropos tells them that it is Virtue, Pluto says he knows him well and the only thing that can harm Virtue is Vice, Pluto’s bastard son. Vice is called for, and he assembles his host for battle. Morpheus warns Virtue of the impending battle and Virtue prepares his host and heads to the field of Microcosm, hoping to arrive before Vice and thus have the advantage. The descriptions of the assembly of these armies are made up long lists of characters representing various vices and virtues and types of people under the influence of Vice and Virtue.\nThe second narrative episode of the poem is a psychomachian battle between the hosts of Virtue and Vice for the field of Microcosm, which is possessed by Freewill. As the battle heats up, Freewill joins forces with Vice and they begin to drive Virtue and his host from the field. Perseverance comes and rallies Virtue’s troops, defeats Vice and wins the field. Freewill goes through a process of cleansing and is made a vassal of Virtue. Reason and Sadness are given control of Microcosm and set about cleansing it of the weeds planted there by Sensuality. A disgusted Atropos determines to leave the service of the “counterfete” gods saying, “For oo God ther ys that can euery dell / Turne as hym lyst, bothe dry & whete, / In to whos seruyce I shall assay to gete” (39). He goes in search of the Lord of Light and is told by Righteousness that the Lord of Light has been his master all along. Atropos’ name is changed to Death and he is sent to Microcosm. Priesthood and the sacraments are sent to the field to prepare it for the coming of Death who causes the grass to wither and shuts the gates on the field.\nThe third episode of the poem takes place in the arbor of Doctrine where the dreamer is taken to be instructed in the meaning of the vision he has seen. The walls of the arbor are painted with images of people from the history of the world which Doctrine uses to explain the meaning of the dream and the genesis of the pagan deities and to encourage the dreamer in the right way of life. When she is done, the dreamer remembers his question about the accord of reason and sensuality and he asks her to “determyne that doute” (56). She is surprised that he has not figured it out yet, and with that, Death appears. As the dreamer hides in fear of Death, Reason and Sensuality appear and agree that people should fear death.\nAfter Doctrine explains this accord to the dreamer he is taken back to his spot by the lake. He awakens and writes his dream, exhorting those who read it, hear it read or see it to learn from it and asking the blessings of heaven on those who do.",
" The Assembly of Gods is composed of 301 seven line stanzas which have the standard ababbcc rhyme pattern of the rhyme royal. The meter, as critics have noted, is irregular. The poem can be broken into five main sections: an introduction, three distinct but connected narrative episodes and a conclusion.\nIn the introduction, the poet establishes the setting using conventional astrological and geographical references which place the poem within the traditional framework of a dream poem and introduces the dreamer who sits “all solytary alone besyde a lake,/ Musyng on a maner how that I myght make/ Reason & Sensualyte in oon to acorde” (1). But, before he can think through his puzzle he is overcome by sleep. Morpheus comes and escorts him to the court of Minos which is being held at the estate of Pluto. There the dreamer watches as Diana and Neptune accuse Aeolus of flouting their authority and discrediting them in the eyes of their worshippers. Before the trial can be concluded a messenger comes from Apollo, asking Minos to hold off on the judgement and inviting all the gods to his palace for a banquet. In Apollo’s palace, Diana’s complaint is resolved and the dreamer describes each of the gods and goddesses as they sit down to eat. The gods won’t allow Discord into their feast, but as she is leaving she meets with Atropos and sends him to stir things up. Atropos goes to the gods and complains that while the gods claim to have given him power to bring death to any who disobeyed or despised them, there is one person who has escaped his power. He threatens to leave their employ if they don’t make good on their promise to him and give him power over this person. All the gods agree that they will bring down this one who defies Atropos. They quickly resolve the dispute between Neptune and Aeolus to ensure that the offender will not be able to escape in the sea or air and then ask who it is that has defied them. When Atropos tells them that it is Virtue, Pluto says he knows him well and the only thing that can harm Virtue is Vice, Pluto’s bastard son. Vice is called for, and he assembles his host for battle. Morpheus warns Virtue of the impending battle and Virtue prepares his host and heads to the field of Microcosm, hoping to arrive before Vice and thus have the advantage. The descriptions of the assembly of these armies are made up long lists of characters representing various vices and virtues and types of people under the influence of Vice and Virtue.\nThe second narrative episode of the poem is a psychomachian battle between the hosts of Virtue and Vice for the field of Microcosm, which is possessed by Freewill. As the battle heats up, Freewill joins forces with Vice and they begin to drive Virtue and his host from the field. Perseverance comes and rallies Virtue’s troops, defeats Vice and wins the field. Freewill goes through a process of cleansing and is made a vassal of Virtue. Reason and Sadness are given control of Microcosm and set about cleansing it of the weeds planted there by Sensuality. A disgusted Atropos determines to leave the service of the “counterfete” gods saying, “For oo God ther ys that can euery dell / Turne as hym lyst, bothe dry & whete, / In to whos seruyce I shall assay to gete” (39). He goes in search of the Lord of Light and is told by Righteousness that the Lord of Light has been his master all along. Atropos’ name is changed to Death and he is sent to Microcosm. Priesthood and the sacraments are sent to the field to prepare it for the coming of Death who causes the grass to wither and shuts the gates on the field.\nThe third episode of the poem takes place in the arbor of Doctrine where the dreamer is taken to be instructed in the meaning of the vision he has seen. The walls of the arbor are painted with images of people from the history of the world which Doctrine uses to explain the meaning of the dream and the genesis of the pagan deities and to encourage the dreamer in the right way of life. When she is done, the dreamer remembers his question about the accord of reason and sensuality and he asks her to “determyne that doute” (56). She is surprised that he has not figured it out yet, and with that, Death appears. As the dreamer hides in fear of Death, Reason and Sensuality appear and agree that people should fear death.\nAfter Doctrine explains this accord to the dreamer he is taken back to his spot by the lake. He awakens and writes his dream, exhorting those who read it, hear it read or see it to learn from it and asking the blessings of heaven on those who do.",
" The Assembly of Gods is composed of 301 seven line stanzas which have the standard ababbcc rhyme pattern of the rhyme royal. The meter, as critics have noted, is irregular. The poem can be broken into five main sections: an introduction, three distinct but connected narrative episodes and a conclusion.\nIn the introduction, the poet establishes the setting using conventional astrological and geographical references which place the poem within the traditional framework of a dream poem and introduces the dreamer who sits “all solytary alone besyde a lake,/ Musyng on a maner how that I myght make/ Reason & Sensualyte in oon to acorde” (1). But, before he can think through his puzzle he is overcome by sleep. Morpheus comes and escorts him to the court of Minos which is being held at the estate of Pluto. There the dreamer watches as Diana and Neptune accuse Aeolus of flouting their authority and discrediting them in the eyes of their worshippers. Before the trial can be concluded a messenger comes from Apollo, asking Minos to hold off on the judgement and inviting all the gods to his palace for a banquet. In Apollo’s palace, Diana’s complaint is resolved and the dreamer describes each of the gods and goddesses as they sit down to eat. The gods won’t allow Discord into their feast, but as she is leaving she meets with Atropos and sends him to stir things up. Atropos goes to the gods and complains that while the gods claim to have given him power to bring death to any who disobeyed or despised them, there is one person who has escaped his power. He threatens to leave their employ if they don’t make good on their promise to him and give him power over this person. All the gods agree that they will bring down this one who defies Atropos. They quickly resolve the dispute between Neptune and Aeolus to ensure that the offender will not be able to escape in the sea or air and then ask who it is that has defied them. When Atropos tells them that it is Virtue, Pluto says he knows him well and the only thing that can harm Virtue is Vice, Pluto’s bastard son. Vice is called for, and he assembles his host for battle. Morpheus warns Virtue of the impending battle and Virtue prepares his host and heads to the field of Microcosm, hoping to arrive before Vice and thus have the advantage. The descriptions of the assembly of these armies are made up long lists of characters representing various vices and virtues and types of people under the influence of Vice and Virtue.\nThe second narrative episode of the poem is a psychomachian battle between the hosts of Virtue and Vice for the field of Microcosm, which is possessed by Freewill. As the battle heats up, Freewill joins forces with Vice and they begin to drive Virtue and his host from the field. Perseverance comes and rallies Virtue’s troops, defeats Vice and wins the field. Freewill goes through a process of cleansing and is made a vassal of Virtue. Reason and Sadness are given control of Microcosm and set about cleansing it of the weeds planted there by Sensuality. A disgusted Atropos determines to leave the service of the “counterfete” gods saying, “For oo God ther ys that can euery dell / Turne as hym lyst, bothe dry & whete, / In to whos seruyce I shall assay to gete” (39). He goes in search of the Lord of Light and is told by Righteousness that the Lord of Light has been his master all along. Atropos’ name is changed to Death and he is sent to Microcosm. Priesthood and the sacraments are sent to the field to prepare it for the coming of Death who causes the grass to wither and shuts the gates on the field.\nThe third episode of the poem takes place in the arbor of Doctrine where the dreamer is taken to be instructed in the meaning of the vision he has seen. The walls of the arbor are painted with images of people from the history of the world which Doctrine uses to explain the meaning of the dream and the genesis of the pagan deities and to encourage the dreamer in the right way of life. When she is done, the dreamer remembers his question about the accord of reason and sensuality and he asks her to “determyne that doute” (56). She is surprised that he has not figured it out yet, and with that, Death appears. As the dreamer hides in fear of Death, Reason and Sensuality appear and agree that people should fear death.\nAfter Doctrine explains this accord to the dreamer he is taken back to his spot by the lake. He awakens and writes his dream, exhorting those who read it, hear it read or see it to learn from it and asking the blessings of heaven on those who do.",
" The Assembly of Gods is composed of 301 seven line stanzas which have the standard ababbcc rhyme pattern of the rhyme royal. The meter, as critics have noted, is irregular. The poem can be broken into five main sections: an introduction, three distinct but connected narrative episodes and a conclusion.\nIn the introduction, the poet establishes the setting using conventional astrological and geographical references which place the poem within the traditional framework of a dream poem and introduces the dreamer who sits “all solytary alone besyde a lake,/ Musyng on a maner how that I myght make/ Reason & Sensualyte in oon to acorde” (1). But, before he can think through his puzzle he is overcome by sleep. Morpheus comes and escorts him to the court of Minos which is being held at the estate of Pluto. There the dreamer watches as Diana and Neptune accuse Aeolus of flouting their authority and discrediting them in the eyes of their worshippers. Before the trial can be concluded a messenger comes from Apollo, asking Minos to hold off on the judgement and inviting all the gods to his palace for a banquet. In Apollo’s palace, Diana’s complaint is resolved and the dreamer describes each of the gods and goddesses as they sit down to eat. The gods won’t allow Discord into their feast, but as she is leaving she meets with Atropos and sends him to stir things up. Atropos goes to the gods and complains that while the gods claim to have given him power to bring death to any who disobeyed or despised them, there is one person who has escaped his power. He threatens to leave their employ if they don’t make good on their promise to him and give him power over this person. All the gods agree that they will bring down this one who defies Atropos. They quickly resolve the dispute between Neptune and Aeolus to ensure that the offender will not be able to escape in the sea or air and then ask who it is that has defied them. When Atropos tells them that it is Virtue, Pluto says he knows him well and the only thing that can harm Virtue is Vice, Pluto’s bastard son. Vice is called for, and he assembles his host for battle. Morpheus warns Virtue of the impending battle and Virtue prepares his host and heads to the field of Microcosm, hoping to arrive before Vice and thus have the advantage. The descriptions of the assembly of these armies are made up long lists of characters representing various vices and virtues and types of people under the influence of Vice and Virtue.\nThe second narrative episode of the poem is a psychomachian battle between the hosts of Virtue and Vice for the field of Microcosm, which is possessed by Freewill. As the battle heats up, Freewill joins forces with Vice and they begin to drive Virtue and his host from the field. Perseverance comes and rallies Virtue’s troops, defeats Vice and wins the field. Freewill goes through a process of cleansing and is made a vassal of Virtue. Reason and Sadness are given control of Microcosm and set about cleansing it of the weeds planted there by Sensuality. A disgusted Atropos determines to leave the service of the “counterfete” gods saying, “For oo God ther ys that can euery dell / Turne as hym lyst, bothe dry & whete, / In to whos seruyce I shall assay to gete” (39). He goes in search of the Lord of Light and is told by Righteousness that the Lord of Light has been his master all along. Atropos’ name is changed to Death and he is sent to Microcosm. Priesthood and the sacraments are sent to the field to prepare it for the coming of Death who causes the grass to wither and shuts the gates on the field.\nThe third episode of the poem takes place in the arbor of Doctrine where the dreamer is taken to be instructed in the meaning of the vision he has seen. The walls of the arbor are painted with images of people from the history of the world which Doctrine uses to explain the meaning of the dream and the genesis of the pagan deities and to encourage the dreamer in the right way of life. When she is done, the dreamer remembers his question about the accord of reason and sensuality and he asks her to “determyne that doute” (56). She is surprised that he has not figured it out yet, and with that, Death appears. As the dreamer hides in fear of Death, Reason and Sensuality appear and agree that people should fear death.\nAfter Doctrine explains this accord to the dreamer he is taken back to his spot by the lake. He awakens and writes his dream, exhorting those who read it, hear it read or see it to learn from it and asking the blessings of heaven on those who do."
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The Assembly of Gods is composed of 301 seven line stanzas which have the standard ababbcc rhyme pattern of the rhyme royal. The meter, as critics have noted, is irregular. The poem can be broken into five main sections: an introduction, three distinct but connected narrative episodes and a conclusion.
In the introduction, the poet establishes the setting using conventional astrological and geographical references which place the poem within the traditional framework of a dream poem and introduces the dreamer who sits “all solytary alone besyde a lake,/ Musyng on a maner how that I myght make/ Reason & Sensualyte in oon to acorde” (1). But, before he can think through his puzzle he is overcome by sleep. Morpheus comes and escorts him to the court of Minos which is being held at the estate of Pluto. There the dreamer watches as Diana and Neptune accuse Aeolus of flouting their authority and discrediting them in the eyes of their worshippers. Before the trial can be concluded a messenger comes from Apollo, asking Minos to hold off on the judgement and inviting all the gods to his palace for a banquet. In Apollo’s palace, Diana’s complaint is resolved and the dreamer describes each of the gods and goddesses as they sit down to eat. The gods won’t allow Discord into their feast, but as she is leaving she meets with Atropos and sends him to stir things up. Atropos goes to the gods and complains that while the gods claim to have given him power to bring death to any who disobeyed or despised them, there is one person who has escaped his power. He threatens to leave their employ if they don’t make good on their promise to him and give him power over this person. All the gods agree that they will bring down this one who defies Atropos. They quickly resolve the dispute between Neptune and Aeolus to ensure that the offender will not be able to escape in the sea or air and then ask who it is that has defied them. When Atropos tells them that it is Virtue, Pluto says he knows him well and the only thing that can harm Virtue is Vice, Pluto’s bastard son. Vice is called for, and he assembles his host for battle. Morpheus warns Virtue of the impending battle and Virtue prepares his host and heads to the field of Microcosm, hoping to arrive before Vice and thus have the advantage. The descriptions of the assembly of these armies are made up long lists of characters representing various vices and virtues and types of people under the influence of Vice and Virtue.
The second narrative episode of the poem is a psychomachian battle between the hosts of Virtue and Vice for the field of Microcosm, which is possessed by Freewill. As the battle heats up, Freewill joins forces with Vice and they begin to drive Virtue and his host from the field. Perseverance comes and rallies Virtue’s troops, defeats Vice and wins the field. Freewill goes through a process of cleansing and is made a vassal of Virtue. Reason and Sadness are given control of Microcosm and set about cleansing it of the weeds planted there by Sensuality. A disgusted Atropos determines to leave the service of the “counterfete” gods saying, “For oo God ther ys that can euery dell / Turne as hym lyst, bothe dry & whete, / In to whos seruyce I shall assay to gete” (39). He goes in search of the Lord of Light and is told by Righteousness that the Lord of Light has been his master all along. Atropos’ name is changed to Death and he is sent to Microcosm. Priesthood and the sacraments are sent to the field to prepare it for the coming of Death who causes the grass to wither and shuts the gates on the field.
The third episode of the poem takes place in the arbor of Doctrine where the dreamer is taken to be instructed in the meaning of the vision he has seen. The walls of the arbor are painted with images of people from the history of the world which Doctrine uses to explain the meaning of the dream and the genesis of the pagan deities and to encourage the dreamer in the right way of life. When she is done, the dreamer remembers his question about the accord of reason and sensuality and he asks her to “determyne that doute” (56). She is surprised that he has not figured it out yet, and with that, Death appears. As the dreamer hides in fear of Death, Reason and Sensuality appear and agree that people should fear death.
After Doctrine explains this accord to the dreamer he is taken back to his spot by the lake. He awakens and writes his dream, exhorting those who read it, hear it read or see it to learn from it and asking the blessings of heaven on those who do. | [
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"content": "Who gave Atropos power?",
"role": "user"
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] | 36,898 | [
" The Assembly of Gods is composed of 301 seven line stanzas which have the standard ababbcc rhyme pattern of the rhyme royal. The meter, as critics have noted, is irregular. The poem can be broken into five main sections: an introduction, three distinct but connected narrative episodes and a conclusion.\nIn the introduction, the poet establishes the setting using conventional astrological and geographical references which place the poem within the traditional framework of a dream poem and introduces the dreamer who sits “all solytary alone besyde a lake,/ Musyng on a maner how that I myght make/ Reason & Sensualyte in oon to acorde” (1). But, before he can think through his puzzle he is overcome by sleep. Morpheus comes and escorts him to the court of Minos which is being held at the estate of Pluto. There the dreamer watches as Diana and Neptune accuse Aeolus of flouting their authority and discrediting them in the eyes of their worshippers. Before the trial can be concluded a messenger comes from Apollo, asking Minos to hold off on the judgement and inviting all the gods to his palace for a banquet. In Apollo’s palace, Diana’s complaint is resolved and the dreamer describes each of the gods and goddesses as they sit down to eat. The gods won’t allow Discord into their feast, but as she is leaving she meets with Atropos and sends him to stir things up. Atropos goes to the gods and complains that while the gods claim to have given him power to bring death to any who disobeyed or despised them, there is one person who has escaped his power. He threatens to leave their employ if they don’t make good on their promise to him and give him power over this person. All the gods agree that they will bring down this one who defies Atropos. They quickly resolve the dispute between Neptune and Aeolus to ensure that the offender will not be able to escape in the sea or air and then ask who it is that has defied them. When Atropos tells them that it is Virtue, Pluto says he knows him well and the only thing that can harm Virtue is Vice, Pluto’s bastard son. Vice is called for, and he assembles his host for battle. Morpheus warns Virtue of the impending battle and Virtue prepares his host and heads to the field of Microcosm, hoping to arrive before Vice and thus have the advantage. The descriptions of the assembly of these armies are made up long lists of characters representing various vices and virtues and types of people under the influence of Vice and Virtue.\nThe second narrative episode of the poem is a psychomachian battle between the hosts of Virtue and Vice for the field of Microcosm, which is possessed by Freewill. As the battle heats up, Freewill joins forces with Vice and they begin to drive Virtue and his host from the field. Perseverance comes and rallies Virtue’s troops, defeats Vice and wins the field. Freewill goes through a process of cleansing and is made a vassal of Virtue. Reason and Sadness are given control of Microcosm and set about cleansing it of the weeds planted there by Sensuality. A disgusted Atropos determines to leave the service of the “counterfete” gods saying, “For oo God ther ys that can euery dell / Turne as hym lyst, bothe dry & whete, / In to whos seruyce I shall assay to gete” (39). He goes in search of the Lord of Light and is told by Righteousness that the Lord of Light has been his master all along. Atropos’ name is changed to Death and he is sent to Microcosm. Priesthood and the sacraments are sent to the field to prepare it for the coming of Death who causes the grass to wither and shuts the gates on the field.\nThe third episode of the poem takes place in the arbor of Doctrine where the dreamer is taken to be instructed in the meaning of the vision he has seen. The walls of the arbor are painted with images of people from the history of the world which Doctrine uses to explain the meaning of the dream and the genesis of the pagan deities and to encourage the dreamer in the right way of life. When she is done, the dreamer remembers his question about the accord of reason and sensuality and he asks her to “determyne that doute” (56). She is surprised that he has not figured it out yet, and with that, Death appears. As the dreamer hides in fear of Death, Reason and Sensuality appear and agree that people should fear death.\nAfter Doctrine explains this accord to the dreamer he is taken back to his spot by the lake. He awakens and writes his dream, exhorting those who read it, hear it read or see it to learn from it and asking the blessings of heaven on those who do.",
" The Assembly of Gods is composed of 301 seven line stanzas which have the standard ababbcc rhyme pattern of the rhyme royal. The meter, as critics have noted, is irregular. The poem can be broken into five main sections: an introduction, three distinct but connected narrative episodes and a conclusion.\nIn the introduction, the poet establishes the setting using conventional astrological and geographical references which place the poem within the traditional framework of a dream poem and introduces the dreamer who sits “all solytary alone besyde a lake,/ Musyng on a maner how that I myght make/ Reason & Sensualyte in oon to acorde” (1). But, before he can think through his puzzle he is overcome by sleep. Morpheus comes and escorts him to the court of Minos which is being held at the estate of Pluto. There the dreamer watches as Diana and Neptune accuse Aeolus of flouting their authority and discrediting them in the eyes of their worshippers. Before the trial can be concluded a messenger comes from Apollo, asking Minos to hold off on the judgement and inviting all the gods to his palace for a banquet. In Apollo’s palace, Diana’s complaint is resolved and the dreamer describes each of the gods and goddesses as they sit down to eat. The gods won’t allow Discord into their feast, but as she is leaving she meets with Atropos and sends him to stir things up. Atropos goes to the gods and complains that while the gods claim to have given him power to bring death to any who disobeyed or despised them, there is one person who has escaped his power. He threatens to leave their employ if they don’t make good on their promise to him and give him power over this person. All the gods agree that they will bring down this one who defies Atropos. They quickly resolve the dispute between Neptune and Aeolus to ensure that the offender will not be able to escape in the sea or air and then ask who it is that has defied them. When Atropos tells them that it is Virtue, Pluto says he knows him well and the only thing that can harm Virtue is Vice, Pluto’s bastard son. Vice is called for, and he assembles his host for battle. Morpheus warns Virtue of the impending battle and Virtue prepares his host and heads to the field of Microcosm, hoping to arrive before Vice and thus have the advantage. The descriptions of the assembly of these armies are made up long lists of characters representing various vices and virtues and types of people under the influence of Vice and Virtue.\nThe second narrative episode of the poem is a psychomachian battle between the hosts of Virtue and Vice for the field of Microcosm, which is possessed by Freewill. As the battle heats up, Freewill joins forces with Vice and they begin to drive Virtue and his host from the field. Perseverance comes and rallies Virtue’s troops, defeats Vice and wins the field. Freewill goes through a process of cleansing and is made a vassal of Virtue. Reason and Sadness are given control of Microcosm and set about cleansing it of the weeds planted there by Sensuality. A disgusted Atropos determines to leave the service of the “counterfete” gods saying, “For oo God ther ys that can euery dell / Turne as hym lyst, bothe dry & whete, / In to whos seruyce I shall assay to gete” (39). He goes in search of the Lord of Light and is told by Righteousness that the Lord of Light has been his master all along. Atropos’ name is changed to Death and he is sent to Microcosm. Priesthood and the sacraments are sent to the field to prepare it for the coming of Death who causes the grass to wither and shuts the gates on the field.\nThe third episode of the poem takes place in the arbor of Doctrine where the dreamer is taken to be instructed in the meaning of the vision he has seen. The walls of the arbor are painted with images of people from the history of the world which Doctrine uses to explain the meaning of the dream and the genesis of the pagan deities and to encourage the dreamer in the right way of life. When she is done, the dreamer remembers his question about the accord of reason and sensuality and he asks her to “determyne that doute” (56). She is surprised that he has not figured it out yet, and with that, Death appears. As the dreamer hides in fear of Death, Reason and Sensuality appear and agree that people should fear death.\nAfter Doctrine explains this accord to the dreamer he is taken back to his spot by the lake. He awakens and writes his dream, exhorting those who read it, hear it read or see it to learn from it and asking the blessings of heaven on those who do.",
" The Assembly of Gods is composed of 301 seven line stanzas which have the standard ababbcc rhyme pattern of the rhyme royal. The meter, as critics have noted, is irregular. The poem can be broken into five main sections: an introduction, three distinct but connected narrative episodes and a conclusion.\nIn the introduction, the poet establishes the setting using conventional astrological and geographical references which place the poem within the traditional framework of a dream poem and introduces the dreamer who sits “all solytary alone besyde a lake,/ Musyng on a maner how that I myght make/ Reason & Sensualyte in oon to acorde” (1). But, before he can think through his puzzle he is overcome by sleep. Morpheus comes and escorts him to the court of Minos which is being held at the estate of Pluto. There the dreamer watches as Diana and Neptune accuse Aeolus of flouting their authority and discrediting them in the eyes of their worshippers. Before the trial can be concluded a messenger comes from Apollo, asking Minos to hold off on the judgement and inviting all the gods to his palace for a banquet. In Apollo’s palace, Diana’s complaint is resolved and the dreamer describes each of the gods and goddesses as they sit down to eat. The gods won’t allow Discord into their feast, but as she is leaving she meets with Atropos and sends him to stir things up. Atropos goes to the gods and complains that while the gods claim to have given him power to bring death to any who disobeyed or despised them, there is one person who has escaped his power. He threatens to leave their employ if they don’t make good on their promise to him and give him power over this person. All the gods agree that they will bring down this one who defies Atropos. They quickly resolve the dispute between Neptune and Aeolus to ensure that the offender will not be able to escape in the sea or air and then ask who it is that has defied them. When Atropos tells them that it is Virtue, Pluto says he knows him well and the only thing that can harm Virtue is Vice, Pluto’s bastard son. Vice is called for, and he assembles his host for battle. Morpheus warns Virtue of the impending battle and Virtue prepares his host and heads to the field of Microcosm, hoping to arrive before Vice and thus have the advantage. The descriptions of the assembly of these armies are made up long lists of characters representing various vices and virtues and types of people under the influence of Vice and Virtue.\nThe second narrative episode of the poem is a psychomachian battle between the hosts of Virtue and Vice for the field of Microcosm, which is possessed by Freewill. As the battle heats up, Freewill joins forces with Vice and they begin to drive Virtue and his host from the field. Perseverance comes and rallies Virtue’s troops, defeats Vice and wins the field. Freewill goes through a process of cleansing and is made a vassal of Virtue. Reason and Sadness are given control of Microcosm and set about cleansing it of the weeds planted there by Sensuality. A disgusted Atropos determines to leave the service of the “counterfete” gods saying, “For oo God ther ys that can euery dell / Turne as hym lyst, bothe dry & whete, / In to whos seruyce I shall assay to gete” (39). He goes in search of the Lord of Light and is told by Righteousness that the Lord of Light has been his master all along. Atropos’ name is changed to Death and he is sent to Microcosm. Priesthood and the sacraments are sent to the field to prepare it for the coming of Death who causes the grass to wither and shuts the gates on the field.\nThe third episode of the poem takes place in the arbor of Doctrine where the dreamer is taken to be instructed in the meaning of the vision he has seen. The walls of the arbor are painted with images of people from the history of the world which Doctrine uses to explain the meaning of the dream and the genesis of the pagan deities and to encourage the dreamer in the right way of life. When she is done, the dreamer remembers his question about the accord of reason and sensuality and he asks her to “determyne that doute” (56). She is surprised that he has not figured it out yet, and with that, Death appears. As the dreamer hides in fear of Death, Reason and Sensuality appear and agree that people should fear death.\nAfter Doctrine explains this accord to the dreamer he is taken back to his spot by the lake. He awakens and writes his dream, exhorting those who read it, hear it read or see it to learn from it and asking the blessings of heaven on those who do.",
" The Assembly of Gods is composed of 301 seven line stanzas which have the standard ababbcc rhyme pattern of the rhyme royal. The meter, as critics have noted, is irregular. The poem can be broken into five main sections: an introduction, three distinct but connected narrative episodes and a conclusion.\nIn the introduction, the poet establishes the setting using conventional astrological and geographical references which place the poem within the traditional framework of a dream poem and introduces the dreamer who sits “all solytary alone besyde a lake,/ Musyng on a maner how that I myght make/ Reason & Sensualyte in oon to acorde” (1). But, before he can think through his puzzle he is overcome by sleep. Morpheus comes and escorts him to the court of Minos which is being held at the estate of Pluto. There the dreamer watches as Diana and Neptune accuse Aeolus of flouting their authority and discrediting them in the eyes of their worshippers. Before the trial can be concluded a messenger comes from Apollo, asking Minos to hold off on the judgement and inviting all the gods to his palace for a banquet. In Apollo’s palace, Diana’s complaint is resolved and the dreamer describes each of the gods and goddesses as they sit down to eat. The gods won’t allow Discord into their feast, but as she is leaving she meets with Atropos and sends him to stir things up. Atropos goes to the gods and complains that while the gods claim to have given him power to bring death to any who disobeyed or despised them, there is one person who has escaped his power. He threatens to leave their employ if they don’t make good on their promise to him and give him power over this person. All the gods agree that they will bring down this one who defies Atropos. They quickly resolve the dispute between Neptune and Aeolus to ensure that the offender will not be able to escape in the sea or air and then ask who it is that has defied them. When Atropos tells them that it is Virtue, Pluto says he knows him well and the only thing that can harm Virtue is Vice, Pluto’s bastard son. Vice is called for, and he assembles his host for battle. Morpheus warns Virtue of the impending battle and Virtue prepares his host and heads to the field of Microcosm, hoping to arrive before Vice and thus have the advantage. The descriptions of the assembly of these armies are made up long lists of characters representing various vices and virtues and types of people under the influence of Vice and Virtue.\nThe second narrative episode of the poem is a psychomachian battle between the hosts of Virtue and Vice for the field of Microcosm, which is possessed by Freewill. As the battle heats up, Freewill joins forces with Vice and they begin to drive Virtue and his host from the field. Perseverance comes and rallies Virtue’s troops, defeats Vice and wins the field. Freewill goes through a process of cleansing and is made a vassal of Virtue. Reason and Sadness are given control of Microcosm and set about cleansing it of the weeds planted there by Sensuality. A disgusted Atropos determines to leave the service of the “counterfete” gods saying, “For oo God ther ys that can euery dell / Turne as hym lyst, bothe dry & whete, / In to whos seruyce I shall assay to gete” (39). He goes in search of the Lord of Light and is told by Righteousness that the Lord of Light has been his master all along. Atropos’ name is changed to Death and he is sent to Microcosm. Priesthood and the sacraments are sent to the field to prepare it for the coming of Death who causes the grass to wither and shuts the gates on the field.\nThe third episode of the poem takes place in the arbor of Doctrine where the dreamer is taken to be instructed in the meaning of the vision he has seen. The walls of the arbor are painted with images of people from the history of the world which Doctrine uses to explain the meaning of the dream and the genesis of the pagan deities and to encourage the dreamer in the right way of life. When she is done, the dreamer remembers his question about the accord of reason and sensuality and he asks her to “determyne that doute” (56). She is surprised that he has not figured it out yet, and with that, Death appears. As the dreamer hides in fear of Death, Reason and Sensuality appear and agree that people should fear death.\nAfter Doctrine explains this accord to the dreamer he is taken back to his spot by the lake. He awakens and writes his dream, exhorting those who read it, hear it read or see it to learn from it and asking the blessings of heaven on those who do.",
" The Assembly of Gods is composed of 301 seven line stanzas which have the standard ababbcc rhyme pattern of the rhyme royal. The meter, as critics have noted, is irregular. The poem can be broken into five main sections: an introduction, three distinct but connected narrative episodes and a conclusion.\nIn the introduction, the poet establishes the setting using conventional astrological and geographical references which place the poem within the traditional framework of a dream poem and introduces the dreamer who sits “all solytary alone besyde a lake,/ Musyng on a maner how that I myght make/ Reason & Sensualyte in oon to acorde” (1). But, before he can think through his puzzle he is overcome by sleep. Morpheus comes and escorts him to the court of Minos which is being held at the estate of Pluto. There the dreamer watches as Diana and Neptune accuse Aeolus of flouting their authority and discrediting them in the eyes of their worshippers. Before the trial can be concluded a messenger comes from Apollo, asking Minos to hold off on the judgement and inviting all the gods to his palace for a banquet. In Apollo’s palace, Diana’s complaint is resolved and the dreamer describes each of the gods and goddesses as they sit down to eat. The gods won’t allow Discord into their feast, but as she is leaving she meets with Atropos and sends him to stir things up. Atropos goes to the gods and complains that while the gods claim to have given him power to bring death to any who disobeyed or despised them, there is one person who has escaped his power. He threatens to leave their employ if they don’t make good on their promise to him and give him power over this person. All the gods agree that they will bring down this one who defies Atropos. They quickly resolve the dispute between Neptune and Aeolus to ensure that the offender will not be able to escape in the sea or air and then ask who it is that has defied them. When Atropos tells them that it is Virtue, Pluto says he knows him well and the only thing that can harm Virtue is Vice, Pluto’s bastard son. Vice is called for, and he assembles his host for battle. Morpheus warns Virtue of the impending battle and Virtue prepares his host and heads to the field of Microcosm, hoping to arrive before Vice and thus have the advantage. The descriptions of the assembly of these armies are made up long lists of characters representing various vices and virtues and types of people under the influence of Vice and Virtue.\nThe second narrative episode of the poem is a psychomachian battle between the hosts of Virtue and Vice for the field of Microcosm, which is possessed by Freewill. As the battle heats up, Freewill joins forces with Vice and they begin to drive Virtue and his host from the field. Perseverance comes and rallies Virtue’s troops, defeats Vice and wins the field. Freewill goes through a process of cleansing and is made a vassal of Virtue. Reason and Sadness are given control of Microcosm and set about cleansing it of the weeds planted there by Sensuality. A disgusted Atropos determines to leave the service of the “counterfete” gods saying, “For oo God ther ys that can euery dell / Turne as hym lyst, bothe dry & whete, / In to whos seruyce I shall assay to gete” (39). He goes in search of the Lord of Light and is told by Righteousness that the Lord of Light has been his master all along. Atropos’ name is changed to Death and he is sent to Microcosm. Priesthood and the sacraments are sent to the field to prepare it for the coming of Death who causes the grass to wither and shuts the gates on the field.\nThe third episode of the poem takes place in the arbor of Doctrine where the dreamer is taken to be instructed in the meaning of the vision he has seen. The walls of the arbor are painted with images of people from the history of the world which Doctrine uses to explain the meaning of the dream and the genesis of the pagan deities and to encourage the dreamer in the right way of life. When she is done, the dreamer remembers his question about the accord of reason and sensuality and he asks her to “determyne that doute” (56). She is surprised that he has not figured it out yet, and with that, Death appears. As the dreamer hides in fear of Death, Reason and Sensuality appear and agree that people should fear death.\nAfter Doctrine explains this accord to the dreamer he is taken back to his spot by the lake. He awakens and writes his dream, exhorting those who read it, hear it read or see it to learn from it and asking the blessings of heaven on those who do."
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The Assembly of Gods is composed of 301 seven line stanzas which have the standard ababbcc rhyme pattern of the rhyme royal. The meter, as critics have noted, is irregular. The poem can be broken into five main sections: an introduction, three distinct but connected narrative episodes and a conclusion.
In the introduction, the poet establishes the setting using conventional astrological and geographical references which place the poem within the traditional framework of a dream poem and introduces the dreamer who sits “all solytary alone besyde a lake,/ Musyng on a maner how that I myght make/ Reason & Sensualyte in oon to acorde” (1). But, before he can think through his puzzle he is overcome by sleep. Morpheus comes and escorts him to the court of Minos which is being held at the estate of Pluto. There the dreamer watches as Diana and Neptune accuse Aeolus of flouting their authority and discrediting them in the eyes of their worshippers. Before the trial can be concluded a messenger comes from Apollo, asking Minos to hold off on the judgement and inviting all the gods to his palace for a banquet. In Apollo’s palace, Diana’s complaint is resolved and the dreamer describes each of the gods and goddesses as they sit down to eat. The gods won’t allow Discord into their feast, but as she is leaving she meets with Atropos and sends him to stir things up. Atropos goes to the gods and complains that while the gods claim to have given him power to bring death to any who disobeyed or despised them, there is one person who has escaped his power. He threatens to leave their employ if they don’t make good on their promise to him and give him power over this person. All the gods agree that they will bring down this one who defies Atropos. They quickly resolve the dispute between Neptune and Aeolus to ensure that the offender will not be able to escape in the sea or air and then ask who it is that has defied them. When Atropos tells them that it is Virtue, Pluto says he knows him well and the only thing that can harm Virtue is Vice, Pluto’s bastard son. Vice is called for, and he assembles his host for battle. Morpheus warns Virtue of the impending battle and Virtue prepares his host and heads to the field of Microcosm, hoping to arrive before Vice and thus have the advantage. The descriptions of the assembly of these armies are made up long lists of characters representing various vices and virtues and types of people under the influence of Vice and Virtue.
The second narrative episode of the poem is a psychomachian battle between the hosts of Virtue and Vice for the field of Microcosm, which is possessed by Freewill. As the battle heats up, Freewill joins forces with Vice and they begin to drive Virtue and his host from the field. Perseverance comes and rallies Virtue’s troops, defeats Vice and wins the field. Freewill goes through a process of cleansing and is made a vassal of Virtue. Reason and Sadness are given control of Microcosm and set about cleansing it of the weeds planted there by Sensuality. A disgusted Atropos determines to leave the service of the “counterfete” gods saying, “For oo God ther ys that can euery dell / Turne as hym lyst, bothe dry & whete, / In to whos seruyce I shall assay to gete” (39). He goes in search of the Lord of Light and is told by Righteousness that the Lord of Light has been his master all along. Atropos’ name is changed to Death and he is sent to Microcosm. Priesthood and the sacraments are sent to the field to prepare it for the coming of Death who causes the grass to wither and shuts the gates on the field.
The third episode of the poem takes place in the arbor of Doctrine where the dreamer is taken to be instructed in the meaning of the vision he has seen. The walls of the arbor are painted with images of people from the history of the world which Doctrine uses to explain the meaning of the dream and the genesis of the pagan deities and to encourage the dreamer in the right way of life. When she is done, the dreamer remembers his question about the accord of reason and sensuality and he asks her to “determyne that doute” (56). She is surprised that he has not figured it out yet, and with that, Death appears. As the dreamer hides in fear of Death, Reason and Sensuality appear and agree that people should fear death.
After Doctrine explains this accord to the dreamer he is taken back to his spot by the lake. He awakens and writes his dream, exhorting those who read it, hear it read or see it to learn from it and asking the blessings of heaven on those who do. | [
[
"Power of Dealth",
"To bring death to those who disobey or despise the gods"
]
] | [
{
"content": "What kind of power Atropos got?",
"role": "user"
}
] | 36,899 | [
" The Assembly of Gods is composed of 301 seven line stanzas which have the standard ababbcc rhyme pattern of the rhyme royal. The meter, as critics have noted, is irregular. The poem can be broken into five main sections: an introduction, three distinct but connected narrative episodes and a conclusion.\nIn the introduction, the poet establishes the setting using conventional astrological and geographical references which place the poem within the traditional framework of a dream poem and introduces the dreamer who sits “all solytary alone besyde a lake,/ Musyng on a maner how that I myght make/ Reason & Sensualyte in oon to acorde” (1). But, before he can think through his puzzle he is overcome by sleep. Morpheus comes and escorts him to the court of Minos which is being held at the estate of Pluto. There the dreamer watches as Diana and Neptune accuse Aeolus of flouting their authority and discrediting them in the eyes of their worshippers. Before the trial can be concluded a messenger comes from Apollo, asking Minos to hold off on the judgement and inviting all the gods to his palace for a banquet. In Apollo’s palace, Diana’s complaint is resolved and the dreamer describes each of the gods and goddesses as they sit down to eat. The gods won’t allow Discord into their feast, but as she is leaving she meets with Atropos and sends him to stir things up. Atropos goes to the gods and complains that while the gods claim to have given him power to bring death to any who disobeyed or despised them, there is one person who has escaped his power. He threatens to leave their employ if they don’t make good on their promise to him and give him power over this person. All the gods agree that they will bring down this one who defies Atropos. They quickly resolve the dispute between Neptune and Aeolus to ensure that the offender will not be able to escape in the sea or air and then ask who it is that has defied them. When Atropos tells them that it is Virtue, Pluto says he knows him well and the only thing that can harm Virtue is Vice, Pluto’s bastard son. Vice is called for, and he assembles his host for battle. Morpheus warns Virtue of the impending battle and Virtue prepares his host and heads to the field of Microcosm, hoping to arrive before Vice and thus have the advantage. The descriptions of the assembly of these armies are made up long lists of characters representing various vices and virtues and types of people under the influence of Vice and Virtue.\nThe second narrative episode of the poem is a psychomachian battle between the hosts of Virtue and Vice for the field of Microcosm, which is possessed by Freewill. As the battle heats up, Freewill joins forces with Vice and they begin to drive Virtue and his host from the field. Perseverance comes and rallies Virtue’s troops, defeats Vice and wins the field. Freewill goes through a process of cleansing and is made a vassal of Virtue. Reason and Sadness are given control of Microcosm and set about cleansing it of the weeds planted there by Sensuality. A disgusted Atropos determines to leave the service of the “counterfete” gods saying, “For oo God ther ys that can euery dell / Turne as hym lyst, bothe dry & whete, / In to whos seruyce I shall assay to gete” (39). He goes in search of the Lord of Light and is told by Righteousness that the Lord of Light has been his master all along. Atropos’ name is changed to Death and he is sent to Microcosm. Priesthood and the sacraments are sent to the field to prepare it for the coming of Death who causes the grass to wither and shuts the gates on the field.\nThe third episode of the poem takes place in the arbor of Doctrine where the dreamer is taken to be instructed in the meaning of the vision he has seen. The walls of the arbor are painted with images of people from the history of the world which Doctrine uses to explain the meaning of the dream and the genesis of the pagan deities and to encourage the dreamer in the right way of life. When she is done, the dreamer remembers his question about the accord of reason and sensuality and he asks her to “determyne that doute” (56). She is surprised that he has not figured it out yet, and with that, Death appears. As the dreamer hides in fear of Death, Reason and Sensuality appear and agree that people should fear death.\nAfter Doctrine explains this accord to the dreamer he is taken back to his spot by the lake. He awakens and writes his dream, exhorting those who read it, hear it read or see it to learn from it and asking the blessings of heaven on those who do.",
" The Assembly of Gods is composed of 301 seven line stanzas which have the standard ababbcc rhyme pattern of the rhyme royal. The meter, as critics have noted, is irregular. The poem can be broken into five main sections: an introduction, three distinct but connected narrative episodes and a conclusion.\nIn the introduction, the poet establishes the setting using conventional astrological and geographical references which place the poem within the traditional framework of a dream poem and introduces the dreamer who sits “all solytary alone besyde a lake,/ Musyng on a maner how that I myght make/ Reason & Sensualyte in oon to acorde” (1). But, before he can think through his puzzle he is overcome by sleep. Morpheus comes and escorts him to the court of Minos which is being held at the estate of Pluto. There the dreamer watches as Diana and Neptune accuse Aeolus of flouting their authority and discrediting them in the eyes of their worshippers. Before the trial can be concluded a messenger comes from Apollo, asking Minos to hold off on the judgement and inviting all the gods to his palace for a banquet. In Apollo’s palace, Diana’s complaint is resolved and the dreamer describes each of the gods and goddesses as they sit down to eat. The gods won’t allow Discord into their feast, but as she is leaving she meets with Atropos and sends him to stir things up. Atropos goes to the gods and complains that while the gods claim to have given him power to bring death to any who disobeyed or despised them, there is one person who has escaped his power. He threatens to leave their employ if they don’t make good on their promise to him and give him power over this person. All the gods agree that they will bring down this one who defies Atropos. They quickly resolve the dispute between Neptune and Aeolus to ensure that the offender will not be able to escape in the sea or air and then ask who it is that has defied them. When Atropos tells them that it is Virtue, Pluto says he knows him well and the only thing that can harm Virtue is Vice, Pluto’s bastard son. Vice is called for, and he assembles his host for battle. Morpheus warns Virtue of the impending battle and Virtue prepares his host and heads to the field of Microcosm, hoping to arrive before Vice and thus have the advantage. The descriptions of the assembly of these armies are made up long lists of characters representing various vices and virtues and types of people under the influence of Vice and Virtue.\nThe second narrative episode of the poem is a psychomachian battle between the hosts of Virtue and Vice for the field of Microcosm, which is possessed by Freewill. As the battle heats up, Freewill joins forces with Vice and they begin to drive Virtue and his host from the field. Perseverance comes and rallies Virtue’s troops, defeats Vice and wins the field. Freewill goes through a process of cleansing and is made a vassal of Virtue. Reason and Sadness are given control of Microcosm and set about cleansing it of the weeds planted there by Sensuality. A disgusted Atropos determines to leave the service of the “counterfete” gods saying, “For oo God ther ys that can euery dell / Turne as hym lyst, bothe dry & whete, / In to whos seruyce I shall assay to gete” (39). He goes in search of the Lord of Light and is told by Righteousness that the Lord of Light has been his master all along. Atropos’ name is changed to Death and he is sent to Microcosm. Priesthood and the sacraments are sent to the field to prepare it for the coming of Death who causes the grass to wither and shuts the gates on the field.\nThe third episode of the poem takes place in the arbor of Doctrine where the dreamer is taken to be instructed in the meaning of the vision he has seen. The walls of the arbor are painted with images of people from the history of the world which Doctrine uses to explain the meaning of the dream and the genesis of the pagan deities and to encourage the dreamer in the right way of life. When she is done, the dreamer remembers his question about the accord of reason and sensuality and he asks her to “determyne that doute” (56). She is surprised that he has not figured it out yet, and with that, Death appears. As the dreamer hides in fear of Death, Reason and Sensuality appear and agree that people should fear death.\nAfter Doctrine explains this accord to the dreamer he is taken back to his spot by the lake. He awakens and writes his dream, exhorting those who read it, hear it read or see it to learn from it and asking the blessings of heaven on those who do.",
" The Assembly of Gods is composed of 301 seven line stanzas which have the standard ababbcc rhyme pattern of the rhyme royal. The meter, as critics have noted, is irregular. The poem can be broken into five main sections: an introduction, three distinct but connected narrative episodes and a conclusion.\nIn the introduction, the poet establishes the setting using conventional astrological and geographical references which place the poem within the traditional framework of a dream poem and introduces the dreamer who sits “all solytary alone besyde a lake,/ Musyng on a maner how that I myght make/ Reason & Sensualyte in oon to acorde” (1). But, before he can think through his puzzle he is overcome by sleep. Morpheus comes and escorts him to the court of Minos which is being held at the estate of Pluto. There the dreamer watches as Diana and Neptune accuse Aeolus of flouting their authority and discrediting them in the eyes of their worshippers. Before the trial can be concluded a messenger comes from Apollo, asking Minos to hold off on the judgement and inviting all the gods to his palace for a banquet. In Apollo’s palace, Diana’s complaint is resolved and the dreamer describes each of the gods and goddesses as they sit down to eat. The gods won’t allow Discord into their feast, but as she is leaving she meets with Atropos and sends him to stir things up. Atropos goes to the gods and complains that while the gods claim to have given him power to bring death to any who disobeyed or despised them, there is one person who has escaped his power. He threatens to leave their employ if they don’t make good on their promise to him and give him power over this person. All the gods agree that they will bring down this one who defies Atropos. They quickly resolve the dispute between Neptune and Aeolus to ensure that the offender will not be able to escape in the sea or air and then ask who it is that has defied them. When Atropos tells them that it is Virtue, Pluto says he knows him well and the only thing that can harm Virtue is Vice, Pluto’s bastard son. Vice is called for, and he assembles his host for battle. Morpheus warns Virtue of the impending battle and Virtue prepares his host and heads to the field of Microcosm, hoping to arrive before Vice and thus have the advantage. The descriptions of the assembly of these armies are made up long lists of characters representing various vices and virtues and types of people under the influence of Vice and Virtue.\nThe second narrative episode of the poem is a psychomachian battle between the hosts of Virtue and Vice for the field of Microcosm, which is possessed by Freewill. As the battle heats up, Freewill joins forces with Vice and they begin to drive Virtue and his host from the field. Perseverance comes and rallies Virtue’s troops, defeats Vice and wins the field. Freewill goes through a process of cleansing and is made a vassal of Virtue. Reason and Sadness are given control of Microcosm and set about cleansing it of the weeds planted there by Sensuality. A disgusted Atropos determines to leave the service of the “counterfete” gods saying, “For oo God ther ys that can euery dell / Turne as hym lyst, bothe dry & whete, / In to whos seruyce I shall assay to gete” (39). He goes in search of the Lord of Light and is told by Righteousness that the Lord of Light has been his master all along. Atropos’ name is changed to Death and he is sent to Microcosm. Priesthood and the sacraments are sent to the field to prepare it for the coming of Death who causes the grass to wither and shuts the gates on the field.\nThe third episode of the poem takes place in the arbor of Doctrine where the dreamer is taken to be instructed in the meaning of the vision he has seen. The walls of the arbor are painted with images of people from the history of the world which Doctrine uses to explain the meaning of the dream and the genesis of the pagan deities and to encourage the dreamer in the right way of life. When she is done, the dreamer remembers his question about the accord of reason and sensuality and he asks her to “determyne that doute” (56). She is surprised that he has not figured it out yet, and with that, Death appears. As the dreamer hides in fear of Death, Reason and Sensuality appear and agree that people should fear death.\nAfter Doctrine explains this accord to the dreamer he is taken back to his spot by the lake. He awakens and writes his dream, exhorting those who read it, hear it read or see it to learn from it and asking the blessings of heaven on those who do.",
" The Assembly of Gods is composed of 301 seven line stanzas which have the standard ababbcc rhyme pattern of the rhyme royal. The meter, as critics have noted, is irregular. The poem can be broken into five main sections: an introduction, three distinct but connected narrative episodes and a conclusion.\nIn the introduction, the poet establishes the setting using conventional astrological and geographical references which place the poem within the traditional framework of a dream poem and introduces the dreamer who sits “all solytary alone besyde a lake,/ Musyng on a maner how that I myght make/ Reason & Sensualyte in oon to acorde” (1). But, before he can think through his puzzle he is overcome by sleep. Morpheus comes and escorts him to the court of Minos which is being held at the estate of Pluto. There the dreamer watches as Diana and Neptune accuse Aeolus of flouting their authority and discrediting them in the eyes of their worshippers. Before the trial can be concluded a messenger comes from Apollo, asking Minos to hold off on the judgement and inviting all the gods to his palace for a banquet. In Apollo’s palace, Diana’s complaint is resolved and the dreamer describes each of the gods and goddesses as they sit down to eat. The gods won’t allow Discord into their feast, but as she is leaving she meets with Atropos and sends him to stir things up. Atropos goes to the gods and complains that while the gods claim to have given him power to bring death to any who disobeyed or despised them, there is one person who has escaped his power. He threatens to leave their employ if they don’t make good on their promise to him and give him power over this person. All the gods agree that they will bring down this one who defies Atropos. They quickly resolve the dispute between Neptune and Aeolus to ensure that the offender will not be able to escape in the sea or air and then ask who it is that has defied them. When Atropos tells them that it is Virtue, Pluto says he knows him well and the only thing that can harm Virtue is Vice, Pluto’s bastard son. Vice is called for, and he assembles his host for battle. Morpheus warns Virtue of the impending battle and Virtue prepares his host and heads to the field of Microcosm, hoping to arrive before Vice and thus have the advantage. The descriptions of the assembly of these armies are made up long lists of characters representing various vices and virtues and types of people under the influence of Vice and Virtue.\nThe second narrative episode of the poem is a psychomachian battle between the hosts of Virtue and Vice for the field of Microcosm, which is possessed by Freewill. As the battle heats up, Freewill joins forces with Vice and they begin to drive Virtue and his host from the field. Perseverance comes and rallies Virtue’s troops, defeats Vice and wins the field. Freewill goes through a process of cleansing and is made a vassal of Virtue. Reason and Sadness are given control of Microcosm and set about cleansing it of the weeds planted there by Sensuality. A disgusted Atropos determines to leave the service of the “counterfete” gods saying, “For oo God ther ys that can euery dell / Turne as hym lyst, bothe dry & whete, / In to whos seruyce I shall assay to gete” (39). He goes in search of the Lord of Light and is told by Righteousness that the Lord of Light has been his master all along. Atropos’ name is changed to Death and he is sent to Microcosm. Priesthood and the sacraments are sent to the field to prepare it for the coming of Death who causes the grass to wither and shuts the gates on the field.\nThe third episode of the poem takes place in the arbor of Doctrine where the dreamer is taken to be instructed in the meaning of the vision he has seen. The walls of the arbor are painted with images of people from the history of the world which Doctrine uses to explain the meaning of the dream and the genesis of the pagan deities and to encourage the dreamer in the right way of life. When she is done, the dreamer remembers his question about the accord of reason and sensuality and he asks her to “determyne that doute” (56). She is surprised that he has not figured it out yet, and with that, Death appears. As the dreamer hides in fear of Death, Reason and Sensuality appear and agree that people should fear death.\nAfter Doctrine explains this accord to the dreamer he is taken back to his spot by the lake. He awakens and writes his dream, exhorting those who read it, hear it read or see it to learn from it and asking the blessings of heaven on those who do.",
" The Assembly of Gods is composed of 301 seven line stanzas which have the standard ababbcc rhyme pattern of the rhyme royal. The meter, as critics have noted, is irregular. The poem can be broken into five main sections: an introduction, three distinct but connected narrative episodes and a conclusion.\nIn the introduction, the poet establishes the setting using conventional astrological and geographical references which place the poem within the traditional framework of a dream poem and introduces the dreamer who sits “all solytary alone besyde a lake,/ Musyng on a maner how that I myght make/ Reason & Sensualyte in oon to acorde” (1). But, before he can think through his puzzle he is overcome by sleep. Morpheus comes and escorts him to the court of Minos which is being held at the estate of Pluto. There the dreamer watches as Diana and Neptune accuse Aeolus of flouting their authority and discrediting them in the eyes of their worshippers. Before the trial can be concluded a messenger comes from Apollo, asking Minos to hold off on the judgement and inviting all the gods to his palace for a banquet. In Apollo’s palace, Diana’s complaint is resolved and the dreamer describes each of the gods and goddesses as they sit down to eat. The gods won’t allow Discord into their feast, but as she is leaving she meets with Atropos and sends him to stir things up. Atropos goes to the gods and complains that while the gods claim to have given him power to bring death to any who disobeyed or despised them, there is one person who has escaped his power. He threatens to leave their employ if they don’t make good on their promise to him and give him power over this person. All the gods agree that they will bring down this one who defies Atropos. They quickly resolve the dispute between Neptune and Aeolus to ensure that the offender will not be able to escape in the sea or air and then ask who it is that has defied them. When Atropos tells them that it is Virtue, Pluto says he knows him well and the only thing that can harm Virtue is Vice, Pluto’s bastard son. Vice is called for, and he assembles his host for battle. Morpheus warns Virtue of the impending battle and Virtue prepares his host and heads to the field of Microcosm, hoping to arrive before Vice and thus have the advantage. The descriptions of the assembly of these armies are made up long lists of characters representing various vices and virtues and types of people under the influence of Vice and Virtue.\nThe second narrative episode of the poem is a psychomachian battle between the hosts of Virtue and Vice for the field of Microcosm, which is possessed by Freewill. As the battle heats up, Freewill joins forces with Vice and they begin to drive Virtue and his host from the field. Perseverance comes and rallies Virtue’s troops, defeats Vice and wins the field. Freewill goes through a process of cleansing and is made a vassal of Virtue. Reason and Sadness are given control of Microcosm and set about cleansing it of the weeds planted there by Sensuality. A disgusted Atropos determines to leave the service of the “counterfete” gods saying, “For oo God ther ys that can euery dell / Turne as hym lyst, bothe dry & whete, / In to whos seruyce I shall assay to gete” (39). He goes in search of the Lord of Light and is told by Righteousness that the Lord of Light has been his master all along. Atropos’ name is changed to Death and he is sent to Microcosm. Priesthood and the sacraments are sent to the field to prepare it for the coming of Death who causes the grass to wither and shuts the gates on the field.\nThe third episode of the poem takes place in the arbor of Doctrine where the dreamer is taken to be instructed in the meaning of the vision he has seen. The walls of the arbor are painted with images of people from the history of the world which Doctrine uses to explain the meaning of the dream and the genesis of the pagan deities and to encourage the dreamer in the right way of life. When she is done, the dreamer remembers his question about the accord of reason and sensuality and he asks her to “determyne that doute” (56). She is surprised that he has not figured it out yet, and with that, Death appears. As the dreamer hides in fear of Death, Reason and Sensuality appear and agree that people should fear death.\nAfter Doctrine explains this accord to the dreamer he is taken back to his spot by the lake. He awakens and writes his dream, exhorting those who read it, hear it read or see it to learn from it and asking the blessings of heaven on those who do."
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