YuITC/NarrativeQA-Dataset-Restructured huggingface dataset:
The novel's first-person protagonist, an unnamed vagrant with intellectual leanings, probably in his late twenties, wanders the streets of Norway's capital, Kristiania (Oslo), in pursuit of nourishment. Over four episodes he meets a number of more or less mysterious persons, the most notable being Ylajali, a young woman with whom he engages in a mild degree of physical intimacy.
He exhibits a self-created code of chivalry, giving money and clothes to needy children and vagrants, not eating food given to him, and turning himself in for stealing. Essentially self-destructive, he thus falls into traps of his own making, and with a lack of food, warmth and basic comfort, his body turns slowly to ruin. Overwhelmed by hunger, he scrounges for meals, at one point nearly eating his own (rather precious) pencil. His social, physical and mental states are in constant decline. However, he has no antagonistic feelings towards 'society' as such, rather he blames his fate on 'God' or a divine world order. He vows not to succumb to this order and remains 'a foreigner in life', haunted by 'nervousness, by irrational details'.
He experiences a major artistic and financial triumph when he sells a text to a newspaper, but despite this he finds writing increasingly difficult. At one point in the story, he asks to spend a night in a prison cell, posing as a well-to-do journalist who has lost the keys to his apartment. In the morning he cannot bring himself to reveal his poverty or even partake in the free breakfast provided to the homeless. Finally, as the book comes to close, when his existence is at an absolute ebb, he signs on to the crew of a ship leaving the city.

Question: What job does our character take at the end of the story?
Answer: Crew member of a ship leaving the city
The novel's first-person protagonist, an unnamed vagrant with intellectual leanings, probably in his late twenties, wanders the streets of Norway's capital, Kristiania (Oslo), in pursuit of nourishment. Over four episodes he meets a number of more or less mysterious persons, the most notable being Ylajali, a young woman with whom he engages in a mild degree of physical intimacy.
He exhibits a self-created code of chivalry, giving money and clothes to needy children and vagrants, not eating food given to him, and turning himself in for stealing. Essentially self-destructive, he thus falls into traps of his own making, and with a lack of food, warmth and basic comfort, his body turns slowly to ruin. Overwhelmed by hunger, he scrounges for meals, at one point nearly eating his own (rather precious) pencil. His social, physical and mental states are in constant decline. However, he has no antagonistic feelings towards 'society' as such, rather he blames his fate on 'God' or a divine world order. He vows not to succumb to this order and remains 'a foreigner in life', haunted by 'nervousness, by irrational details'.
He experiences a major artistic and financial triumph when he sells a text to a newspaper, but despite this he finds writing increasingly difficult. At one point in the story, he asks to spend a night in a prison cell, posing as a well-to-do journalist who has lost the keys to his apartment. In the morning he cannot bring himself to reveal his poverty or even partake in the free breakfast provided to the homeless. Finally, as the book comes to close, when his existence is at an absolute ebb, he signs on to the crew of a ship leaving the city.

Question: What does our character pose as when he spends the night in a jail cell?
Answer: A well-to-do journalist
The novel's first-person protagonist, an unnamed vagrant with intellectual leanings, probably in his late twenties, wanders the streets of Norway's capital, Kristiania (Oslo), in pursuit of nourishment. Over four episodes he meets a number of more or less mysterious persons, the most notable being Ylajali, a young woman with whom he engages in a mild degree of physical intimacy.
He exhibits a self-created code of chivalry, giving money and clothes to needy children and vagrants, not eating food given to him, and turning himself in for stealing. Essentially self-destructive, he thus falls into traps of his own making, and with a lack of food, warmth and basic comfort, his body turns slowly to ruin. Overwhelmed by hunger, he scrounges for meals, at one point nearly eating his own (rather precious) pencil. His social, physical and mental states are in constant decline. However, he has no antagonistic feelings towards 'society' as such, rather he blames his fate on 'God' or a divine world order. He vows not to succumb to this order and remains 'a foreigner in life', haunted by 'nervousness, by irrational details'.
He experiences a major artistic and financial triumph when he sells a text to a newspaper, but despite this he finds writing increasingly difficult. At one point in the story, he asks to spend a night in a prison cell, posing as a well-to-do journalist who has lost the keys to his apartment. In the morning he cannot bring himself to reveal his poverty or even partake in the free breakfast provided to the homeless. Finally, as the book comes to close, when his existence is at an absolute ebb, he signs on to the crew of a ship leaving the city.

Question: How does our character find the prospsect of continuing writing?
Answer: Increasingly difficult
The novel's first-person protagonist, an unnamed vagrant with intellectual leanings, probably in his late twenties, wanders the streets of Norway's capital, Kristiania (Oslo), in pursuit of nourishment. Over four episodes he meets a number of more or less mysterious persons, the most notable being Ylajali, a young woman with whom he engages in a mild degree of physical intimacy.
He exhibits a self-created code of chivalry, giving money and clothes to needy children and vagrants, not eating food given to him, and turning himself in for stealing. Essentially self-destructive, he thus falls into traps of his own making, and with a lack of food, warmth and basic comfort, his body turns slowly to ruin. Overwhelmed by hunger, he scrounges for meals, at one point nearly eating his own (rather precious) pencil. His social, physical and mental states are in constant decline. However, he has no antagonistic feelings towards 'society' as such, rather he blames his fate on 'God' or a divine world order. He vows not to succumb to this order and remains 'a foreigner in life', haunted by 'nervousness, by irrational details'.
He experiences a major artistic and financial triumph when he sells a text to a newspaper, but despite this he finds writing increasingly difficult. At one point in the story, he asks to spend a night in a prison cell, posing as a well-to-do journalist who has lost the keys to his apartment. In the morning he cannot bring himself to reveal his poverty or even partake in the free breakfast provided to the homeless. Finally, as the book comes to close, when his existence is at an absolute ebb, he signs on to the crew of a ship leaving the city.

Question: What does our character vow to remain?
Answer: A foreigner in life
The novel's first-person protagonist, an unnamed vagrant with intellectual leanings, probably in his late twenties, wanders the streets of Norway's capital, Kristiania (Oslo), in pursuit of nourishment. Over four episodes he meets a number of more or less mysterious persons, the most notable being Ylajali, a young woman with whom he engages in a mild degree of physical intimacy.
He exhibits a self-created code of chivalry, giving money and clothes to needy children and vagrants, not eating food given to him, and turning himself in for stealing. Essentially self-destructive, he thus falls into traps of his own making, and with a lack of food, warmth and basic comfort, his body turns slowly to ruin. Overwhelmed by hunger, he scrounges for meals, at one point nearly eating his own (rather precious) pencil. His social, physical and mental states are in constant decline. However, he has no antagonistic feelings towards 'society' as such, rather he blames his fate on 'God' or a divine world order. He vows not to succumb to this order and remains 'a foreigner in life', haunted by 'nervousness, by irrational details'.
He experiences a major artistic and financial triumph when he sells a text to a newspaper, but despite this he finds writing increasingly difficult. At one point in the story, he asks to spend a night in a prison cell, posing as a well-to-do journalist who has lost the keys to his apartment. In the morning he cannot bring himself to reveal his poverty or even partake in the free breakfast provided to the homeless. Finally, as the book comes to close, when his existence is at an absolute ebb, he signs on to the crew of a ship leaving the city.

Question: What causes our character to have artistic and financial triumph?
Answer: Selling a text to a newspaper
The novel's first-person protagonist, an unnamed vagrant with intellectual leanings, probably in his late twenties, wanders the streets of Norway's capital, Kristiania (Oslo), in pursuit of nourishment. Over four episodes he meets a number of more or less mysterious persons, the most notable being Ylajali, a young woman with whom he engages in a mild degree of physical intimacy.
He exhibits a self-created code of chivalry, giving money and clothes to needy children and vagrants, not eating food given to him, and turning himself in for stealing. Essentially self-destructive, he thus falls into traps of his own making, and with a lack of food, warmth and basic comfort, his body turns slowly to ruin. Overwhelmed by hunger, he scrounges for meals, at one point nearly eating his own (rather precious) pencil. His social, physical and mental states are in constant decline. However, he has no antagonistic feelings towards 'society' as such, rather he blames his fate on 'God' or a divine world order. He vows not to succumb to this order and remains 'a foreigner in life', haunted by 'nervousness, by irrational details'.
He experiences a major artistic and financial triumph when he sells a text to a newspaper, but despite this he finds writing increasingly difficult. At one point in the story, he asks to spend a night in a prison cell, posing as a well-to-do journalist who has lost the keys to his apartment. In the morning he cannot bring himself to reveal his poverty or even partake in the free breakfast provided to the homeless. Finally, as the book comes to close, when his existence is at an absolute ebb, he signs on to the crew of a ship leaving the city.

Question: What does our character blame his fate on?
Answer: God, or a divine world order
The novel's first-person protagonist, an unnamed vagrant with intellectual leanings, probably in his late twenties, wanders the streets of Norway's capital, Kristiania (Oslo), in pursuit of nourishment. Over four episodes he meets a number of more or less mysterious persons, the most notable being Ylajali, a young woman with whom he engages in a mild degree of physical intimacy.
He exhibits a self-created code of chivalry, giving money and clothes to needy children and vagrants, not eating food given to him, and turning himself in for stealing. Essentially self-destructive, he thus falls into traps of his own making, and with a lack of food, warmth and basic comfort, his body turns slowly to ruin. Overwhelmed by hunger, he scrounges for meals, at one point nearly eating his own (rather precious) pencil. His social, physical and mental states are in constant decline. However, he has no antagonistic feelings towards 'society' as such, rather he blames his fate on 'God' or a divine world order. He vows not to succumb to this order and remains 'a foreigner in life', haunted by 'nervousness, by irrational details'.
He experiences a major artistic and financial triumph when he sells a text to a newspaper, but despite this he finds writing increasingly difficult. At one point in the story, he asks to spend a night in a prison cell, posing as a well-to-do journalist who has lost the keys to his apartment. In the morning he cannot bring himself to reveal his poverty or even partake in the free breakfast provided to the homeless. Finally, as the book comes to close, when his existence is at an absolute ebb, he signs on to the crew of a ship leaving the city.

Question: What did our character almost eat when he was overwhelmed by hunger?
Answer: His pencil
The novel's first-person protagonist, an unnamed vagrant with intellectual leanings, probably in his late twenties, wanders the streets of Norway's capital, Kristiania (Oslo), in pursuit of nourishment. Over four episodes he meets a number of more or less mysterious persons, the most notable being Ylajali, a young woman with whom he engages in a mild degree of physical intimacy.
He exhibits a self-created code of chivalry, giving money and clothes to needy children and vagrants, not eating food given to him, and turning himself in for stealing. Essentially self-destructive, he thus falls into traps of his own making, and with a lack of food, warmth and basic comfort, his body turns slowly to ruin. Overwhelmed by hunger, he scrounges for meals, at one point nearly eating his own (rather precious) pencil. His social, physical and mental states are in constant decline. However, he has no antagonistic feelings towards 'society' as such, rather he blames his fate on 'God' or a divine world order. He vows not to succumb to this order and remains 'a foreigner in life', haunted by 'nervousness, by irrational details'.
He experiences a major artistic and financial triumph when he sells a text to a newspaper, but despite this he finds writing increasingly difficult. At one point in the story, he asks to spend a night in a prison cell, posing as a well-to-do journalist who has lost the keys to his apartment. In the morning he cannot bring himself to reveal his poverty or even partake in the free breakfast provided to the homeless. Finally, as the book comes to close, when his existence is at an absolute ebb, he signs on to the crew of a ship leaving the city.

Question: Where is this vagrent wandering?
Answer: The streets of Kristianaia/Oslo
The novel's first-person protagonist, an unnamed vagrant with intellectual leanings, probably in his late twenties, wanders the streets of Norway's capital, Kristiania (Oslo), in pursuit of nourishment. Over four episodes he meets a number of more or less mysterious persons, the most notable being Ylajali, a young woman with whom he engages in a mild degree of physical intimacy.
He exhibits a self-created code of chivalry, giving money and clothes to needy children and vagrants, not eating food given to him, and turning himself in for stealing. Essentially self-destructive, he thus falls into traps of his own making, and with a lack of food, warmth and basic comfort, his body turns slowly to ruin. Overwhelmed by hunger, he scrounges for meals, at one point nearly eating his own (rather precious) pencil. His social, physical and mental states are in constant decline. However, he has no antagonistic feelings towards 'society' as such, rather he blames his fate on 'God' or a divine world order. He vows not to succumb to this order and remains 'a foreigner in life', haunted by 'nervousness, by irrational details'.
He experiences a major artistic and financial triumph when he sells a text to a newspaper, but despite this he finds writing increasingly difficult. At one point in the story, he asks to spend a night in a prison cell, posing as a well-to-do journalist who has lost the keys to his apartment. In the morning he cannot bring himself to reveal his poverty or even partake in the free breakfast provided to the homeless. Finally, as the book comes to close, when his existence is at an absolute ebb, he signs on to the crew of a ship leaving the city.

Question: How old is our main character, roughly?
Answer: Probably in his late twenties
The novel's first-person protagonist, an unnamed vagrant with intellectual leanings, probably in his late twenties, wanders the streets of Norway's capital, Kristiania (Oslo), in pursuit of nourishment. Over four episodes he meets a number of more or less mysterious persons, the most notable being Ylajali, a young woman with whom he engages in a mild degree of physical intimacy.
He exhibits a self-created code of chivalry, giving money and clothes to needy children and vagrants, not eating food given to him, and turning himself in for stealing. Essentially self-destructive, he thus falls into traps of his own making, and with a lack of food, warmth and basic comfort, his body turns slowly to ruin. Overwhelmed by hunger, he scrounges for meals, at one point nearly eating his own (rather precious) pencil. His social, physical and mental states are in constant decline. However, he has no antagonistic feelings towards 'society' as such, rather he blames his fate on 'God' or a divine world order. He vows not to succumb to this order and remains 'a foreigner in life', haunted by 'nervousness, by irrational details'.
He experiences a major artistic and financial triumph when he sells a text to a newspaper, but despite this he finds writing increasingly difficult. At one point in the story, he asks to spend a night in a prison cell, posing as a well-to-do journalist who has lost the keys to his apartment. In the morning he cannot bring himself to reveal his poverty or even partake in the free breakfast provided to the homeless. Finally, as the book comes to close, when his existence is at an absolute ebb, he signs on to the crew of a ship leaving the city.

Question: Where does the vagrant begin his journey?
Answer: Kristiania (Oslo), the capital of Norway.
The novel's first-person protagonist, an unnamed vagrant with intellectual leanings, probably in his late twenties, wanders the streets of Norway's capital, Kristiania (Oslo), in pursuit of nourishment. Over four episodes he meets a number of more or less mysterious persons, the most notable being Ylajali, a young woman with whom he engages in a mild degree of physical intimacy.
He exhibits a self-created code of chivalry, giving money and clothes to needy children and vagrants, not eating food given to him, and turning himself in for stealing. Essentially self-destructive, he thus falls into traps of his own making, and with a lack of food, warmth and basic comfort, his body turns slowly to ruin. Overwhelmed by hunger, he scrounges for meals, at one point nearly eating his own (rather precious) pencil. His social, physical and mental states are in constant decline. However, he has no antagonistic feelings towards 'society' as such, rather he blames his fate on 'God' or a divine world order. He vows not to succumb to this order and remains 'a foreigner in life', haunted by 'nervousness, by irrational details'.
He experiences a major artistic and financial triumph when he sells a text to a newspaper, but despite this he finds writing increasingly difficult. At one point in the story, he asks to spend a night in a prison cell, posing as a well-to-do journalist who has lost the keys to his apartment. In the morning he cannot bring himself to reveal his poverty or even partake in the free breakfast provided to the homeless. Finally, as the book comes to close, when his existence is at an absolute ebb, he signs on to the crew of a ship leaving the city.

Question: Who is Ylajali to the vagrant?
Answer: A young woman who he engages in physical intimacy with.
The novel's first-person protagonist, an unnamed vagrant with intellectual leanings, probably in his late twenties, wanders the streets of Norway's capital, Kristiania (Oslo), in pursuit of nourishment. Over four episodes he meets a number of more or less mysterious persons, the most notable being Ylajali, a young woman with whom he engages in a mild degree of physical intimacy.
He exhibits a self-created code of chivalry, giving money and clothes to needy children and vagrants, not eating food given to him, and turning himself in for stealing. Essentially self-destructive, he thus falls into traps of his own making, and with a lack of food, warmth and basic comfort, his body turns slowly to ruin. Overwhelmed by hunger, he scrounges for meals, at one point nearly eating his own (rather precious) pencil. His social, physical and mental states are in constant decline. However, he has no antagonistic feelings towards 'society' as such, rather he blames his fate on 'God' or a divine world order. He vows not to succumb to this order and remains 'a foreigner in life', haunted by 'nervousness, by irrational details'.
He experiences a major artistic and financial triumph when he sells a text to a newspaper, but despite this he finds writing increasingly difficult. At one point in the story, he asks to spend a night in a prison cell, posing as a well-to-do journalist who has lost the keys to his apartment. In the morning he cannot bring himself to reveal his poverty or even partake in the free breakfast provided to the homeless. Finally, as the book comes to close, when his existence is at an absolute ebb, he signs on to the crew of a ship leaving the city.

Question: Why does the vagrant find himself in Kristiania?
Answer: In search of nourishment.
The novel's first-person protagonist, an unnamed vagrant with intellectual leanings, probably in his late twenties, wanders the streets of Norway's capital, Kristiania (Oslo), in pursuit of nourishment. Over four episodes he meets a number of more or less mysterious persons, the most notable being Ylajali, a young woman with whom he engages in a mild degree of physical intimacy.
He exhibits a self-created code of chivalry, giving money and clothes to needy children and vagrants, not eating food given to him, and turning himself in for stealing. Essentially self-destructive, he thus falls into traps of his own making, and with a lack of food, warmth and basic comfort, his body turns slowly to ruin. Overwhelmed by hunger, he scrounges for meals, at one point nearly eating his own (rather precious) pencil. His social, physical and mental states are in constant decline. However, he has no antagonistic feelings towards 'society' as such, rather he blames his fate on 'God' or a divine world order. He vows not to succumb to this order and remains 'a foreigner in life', haunted by 'nervousness, by irrational details'.
He experiences a major artistic and financial triumph when he sells a text to a newspaper, but despite this he finds writing increasingly difficult. At one point in the story, he asks to spend a night in a prison cell, posing as a well-to-do journalist who has lost the keys to his apartment. In the morning he cannot bring himself to reveal his poverty or even partake in the free breakfast provided to the homeless. Finally, as the book comes to close, when his existence is at an absolute ebb, he signs on to the crew of a ship leaving the city.

Question: Why does the vagrant begin to fade away?
Answer: A lack of self preservation.
The novel's first-person protagonist, an unnamed vagrant with intellectual leanings, probably in his late twenties, wanders the streets of Norway's capital, Kristiania (Oslo), in pursuit of nourishment. Over four episodes he meets a number of more or less mysterious persons, the most notable being Ylajali, a young woman with whom he engages in a mild degree of physical intimacy.
He exhibits a self-created code of chivalry, giving money and clothes to needy children and vagrants, not eating food given to him, and turning himself in for stealing. Essentially self-destructive, he thus falls into traps of his own making, and with a lack of food, warmth and basic comfort, his body turns slowly to ruin. Overwhelmed by hunger, he scrounges for meals, at one point nearly eating his own (rather precious) pencil. His social, physical and mental states are in constant decline. However, he has no antagonistic feelings towards 'society' as such, rather he blames his fate on 'God' or a divine world order. He vows not to succumb to this order and remains 'a foreigner in life', haunted by 'nervousness, by irrational details'.
He experiences a major artistic and financial triumph when he sells a text to a newspaper, but despite this he finds writing increasingly difficult. At one point in the story, he asks to spend a night in a prison cell, posing as a well-to-do journalist who has lost the keys to his apartment. In the morning he cannot bring himself to reveal his poverty or even partake in the free breakfast provided to the homeless. Finally, as the book comes to close, when his existence is at an absolute ebb, he signs on to the crew of a ship leaving the city.

Question: What important object did the vagrant almost eat?
Answer: His own pencil.
The novel's first-person protagonist, an unnamed vagrant with intellectual leanings, probably in his late twenties, wanders the streets of Norway's capital, Kristiania (Oslo), in pursuit of nourishment. Over four episodes he meets a number of more or less mysterious persons, the most notable being Ylajali, a young woman with whom he engages in a mild degree of physical intimacy.
He exhibits a self-created code of chivalry, giving money and clothes to needy children and vagrants, not eating food given to him, and turning himself in for stealing. Essentially self-destructive, he thus falls into traps of his own making, and with a lack of food, warmth and basic comfort, his body turns slowly to ruin. Overwhelmed by hunger, he scrounges for meals, at one point nearly eating his own (rather precious) pencil. His social, physical and mental states are in constant decline. However, he has no antagonistic feelings towards 'society' as such, rather he blames his fate on 'God' or a divine world order. He vows not to succumb to this order and remains 'a foreigner in life', haunted by 'nervousness, by irrational details'.
He experiences a major artistic and financial triumph when he sells a text to a newspaper, but despite this he finds writing increasingly difficult. At one point in the story, he asks to spend a night in a prison cell, posing as a well-to-do journalist who has lost the keys to his apartment. In the morning he cannot bring himself to reveal his poverty or even partake in the free breakfast provided to the homeless. Finally, as the book comes to close, when his existence is at an absolute ebb, he signs on to the crew of a ship leaving the city.

Question: Who does the vagrant blame for the state of his life?
Answer: God.
The novel's first-person protagonist, an unnamed vagrant with intellectual leanings, probably in his late twenties, wanders the streets of Norway's capital, Kristiania (Oslo), in pursuit of nourishment. Over four episodes he meets a number of more or less mysterious persons, the most notable being Ylajali, a young woman with whom he engages in a mild degree of physical intimacy.
He exhibits a self-created code of chivalry, giving money and clothes to needy children and vagrants, not eating food given to him, and turning himself in for stealing. Essentially self-destructive, he thus falls into traps of his own making, and with a lack of food, warmth and basic comfort, his body turns slowly to ruin. Overwhelmed by hunger, he scrounges for meals, at one point nearly eating his own (rather precious) pencil. His social, physical and mental states are in constant decline. However, he has no antagonistic feelings towards 'society' as such, rather he blames his fate on 'God' or a divine world order. He vows not to succumb to this order and remains 'a foreigner in life', haunted by 'nervousness, by irrational details'.
He experiences a major artistic and financial triumph when he sells a text to a newspaper, but despite this he finds writing increasingly difficult. At one point in the story, he asks to spend a night in a prison cell, posing as a well-to-do journalist who has lost the keys to his apartment. In the morning he cannot bring himself to reveal his poverty or even partake in the free breakfast provided to the homeless. Finally, as the book comes to close, when his existence is at an absolute ebb, he signs on to the crew of a ship leaving the city.

Question: What is the first victory of the vagrant?
Answer: Selling an article to a newspaper.
The novel's first-person protagonist, an unnamed vagrant with intellectual leanings, probably in his late twenties, wanders the streets of Norway's capital, Kristiania (Oslo), in pursuit of nourishment. Over four episodes he meets a number of more or less mysterious persons, the most notable being Ylajali, a young woman with whom he engages in a mild degree of physical intimacy.
He exhibits a self-created code of chivalry, giving money and clothes to needy children and vagrants, not eating food given to him, and turning himself in for stealing. Essentially self-destructive, he thus falls into traps of his own making, and with a lack of food, warmth and basic comfort, his body turns slowly to ruin. Overwhelmed by hunger, he scrounges for meals, at one point nearly eating his own (rather precious) pencil. His social, physical and mental states are in constant decline. However, he has no antagonistic feelings towards 'society' as such, rather he blames his fate on 'God' or a divine world order. He vows not to succumb to this order and remains 'a foreigner in life', haunted by 'nervousness, by irrational details'.
He experiences a major artistic and financial triumph when he sells a text to a newspaper, but despite this he finds writing increasingly difficult. At one point in the story, he asks to spend a night in a prison cell, posing as a well-to-do journalist who has lost the keys to his apartment. In the morning he cannot bring himself to reveal his poverty or even partake in the free breakfast provided to the homeless. Finally, as the book comes to close, when his existence is at an absolute ebb, he signs on to the crew of a ship leaving the city.

Question: Why did the vagrant spend the night in a prison cell?
Answer: He posed as a journalist who need a place to stay.
The novel's first-person protagonist, an unnamed vagrant with intellectual leanings, probably in his late twenties, wanders the streets of Norway's capital, Kristiania (Oslo), in pursuit of nourishment. Over four episodes he meets a number of more or less mysterious persons, the most notable being Ylajali, a young woman with whom he engages in a mild degree of physical intimacy.
He exhibits a self-created code of chivalry, giving money and clothes to needy children and vagrants, not eating food given to him, and turning himself in for stealing. Essentially self-destructive, he thus falls into traps of his own making, and with a lack of food, warmth and basic comfort, his body turns slowly to ruin. Overwhelmed by hunger, he scrounges for meals, at one point nearly eating his own (rather precious) pencil. His social, physical and mental states are in constant decline. However, he has no antagonistic feelings towards 'society' as such, rather he blames his fate on 'God' or a divine world order. He vows not to succumb to this order and remains 'a foreigner in life', haunted by 'nervousness, by irrational details'.
He experiences a major artistic and financial triumph when he sells a text to a newspaper, but despite this he finds writing increasingly difficult. At one point in the story, he asks to spend a night in a prison cell, posing as a well-to-do journalist who has lost the keys to his apartment. In the morning he cannot bring himself to reveal his poverty or even partake in the free breakfast provided to the homeless. Finally, as the book comes to close, when his existence is at an absolute ebb, he signs on to the crew of a ship leaving the city.

Question: Why does the vagrant refuse to eat the free breakfast?
Answer: He refuses to admit he has no money .
The novel's first-person protagonist, an unnamed vagrant with intellectual leanings, probably in his late twenties, wanders the streets of Norway's capital, Kristiania (Oslo), in pursuit of nourishment. Over four episodes he meets a number of more or less mysterious persons, the most notable being Ylajali, a young woman with whom he engages in a mild degree of physical intimacy.
He exhibits a self-created code of chivalry, giving money and clothes to needy children and vagrants, not eating food given to him, and turning himself in for stealing. Essentially self-destructive, he thus falls into traps of his own making, and with a lack of food, warmth and basic comfort, his body turns slowly to ruin. Overwhelmed by hunger, he scrounges for meals, at one point nearly eating his own (rather precious) pencil. His social, physical and mental states are in constant decline. However, he has no antagonistic feelings towards 'society' as such, rather he blames his fate on 'God' or a divine world order. He vows not to succumb to this order and remains 'a foreigner in life', haunted by 'nervousness, by irrational details'.
He experiences a major artistic and financial triumph when he sells a text to a newspaper, but despite this he finds writing increasingly difficult. At one point in the story, he asks to spend a night in a prison cell, posing as a well-to-do journalist who has lost the keys to his apartment. In the morning he cannot bring himself to reveal his poverty or even partake in the free breakfast provided to the homeless. Finally, as the book comes to close, when his existence is at an absolute ebb, he signs on to the crew of a ship leaving the city.

Question: What is the last time we know the vagrant's location?
Answer: When he signs on to a ship leaving the city.
David is a ten-year-old boy who plays the violin and does not know his last name. He leads an idyllic life in the mountains with his father, until his father becomes gravely ill, forcing them to go down into the valley. With his father's health worsening, they spend the night in a barn. Just before he dies, the father gives David a large number of gold coins, telling him to hide them until they are needed. David plays the violin to soothe his "sleeping father" and is found by Simeon Holly and his wife. Realizing the man is dead, they try to figure out who David is, but all he can tell them is that he is "just David."
David is unable to tell them his last name, his father's name, or if he has any relatives. They find some letters on the dead man, but the signature on it is illegible. The couple reluctantly let him stay with them as he reminds them of their own son, John, whom they no longer speak with. David learns to adjust to live in the village, taking one of his two violins with him wherever he goes and "playing" the world around him, such as playing "the sunset" and "the flowers," and using his music to express his feelings. His innocence and musical skills charm the villagers and change several of their lives, uniting in marriage two childhood sweethearts who had grown apart. He also changes the Hollys, healing Simeon's heart enough that he reconnects with his son and allows him to come visit with his new wife and child.
During the visit, they learn that David's violins are quite valuable. His own is an Amati and his father's, which he had loaned to a blind friend, a Stradivarius. Reading the old letter from David's father, John recognizes the signature and realizes that David's father was a world-famous violinist who had disappeared with his son after his wife's death. David is sent to be reunited with his relatives and to study the violin. He becomes famous and wealthy, but continues to visit the Hollys every year to play for them.

Question: Why were David and his father forced to go down into the valley?
Answer: The father became gravely ill.
David is a ten-year-old boy who plays the violin and does not know his last name. He leads an idyllic life in the mountains with his father, until his father becomes gravely ill, forcing them to go down into the valley. With his father's health worsening, they spend the night in a barn. Just before he dies, the father gives David a large number of gold coins, telling him to hide them until they are needed. David plays the violin to soothe his "sleeping father" and is found by Simeon Holly and his wife. Realizing the man is dead, they try to figure out who David is, but all he can tell them is that he is "just David."
David is unable to tell them his last name, his father's name, or if he has any relatives. They find some letters on the dead man, but the signature on it is illegible. The couple reluctantly let him stay with them as he reminds them of their own son, John, whom they no longer speak with. David learns to adjust to live in the village, taking one of his two violins with him wherever he goes and "playing" the world around him, such as playing "the sunset" and "the flowers," and using his music to express his feelings. His innocence and musical skills charm the villagers and change several of their lives, uniting in marriage two childhood sweethearts who had grown apart. He also changes the Hollys, healing Simeon's heart enough that he reconnects with his son and allows him to come visit with his new wife and child.
During the visit, they learn that David's violins are quite valuable. His own is an Amati and his father's, which he had loaned to a blind friend, a Stradivarius. Reading the old letter from David's father, John recognizes the signature and realizes that David's father was a world-famous violinist who had disappeared with his son after his wife's death. David is sent to be reunited with his relatives and to study the violin. He becomes famous and wealthy, but continues to visit the Hollys every year to play for them.

Question: Who does David remind the Holly's of? 
Answer: Their son John.
David is a ten-year-old boy who plays the violin and does not know his last name. He leads an idyllic life in the mountains with his father, until his father becomes gravely ill, forcing them to go down into the valley. With his father's health worsening, they spend the night in a barn. Just before he dies, the father gives David a large number of gold coins, telling him to hide them until they are needed. David plays the violin to soothe his "sleeping father" and is found by Simeon Holly and his wife. Realizing the man is dead, they try to figure out who David is, but all he can tell them is that he is "just David."
David is unable to tell them his last name, his father's name, or if he has any relatives. They find some letters on the dead man, but the signature on it is illegible. The couple reluctantly let him stay with them as he reminds them of their own son, John, whom they no longer speak with. David learns to adjust to live in the village, taking one of his two violins with him wherever he goes and "playing" the world around him, such as playing "the sunset" and "the flowers," and using his music to express his feelings. His innocence and musical skills charm the villagers and change several of their lives, uniting in marriage two childhood sweethearts who had grown apart. He also changes the Hollys, healing Simeon's heart enough that he reconnects with his son and allows him to come visit with his new wife and child.
During the visit, they learn that David's violins are quite valuable. His own is an Amati and his father's, which he had loaned to a blind friend, a Stradivarius. Reading the old letter from David's father, John recognizes the signature and realizes that David's father was a world-famous violinist who had disappeared with his son after his wife's death. David is sent to be reunited with his relatives and to study the violin. He becomes famous and wealthy, but continues to visit the Hollys every year to play for them.

Question: Why did David's father chose to disappear from the world?
Answer: His wife died.
David is a ten-year-old boy who plays the violin and does not know his last name. He leads an idyllic life in the mountains with his father, until his father becomes gravely ill, forcing them to go down into the valley. With his father's health worsening, they spend the night in a barn. Just before he dies, the father gives David a large number of gold coins, telling him to hide them until they are needed. David plays the violin to soothe his "sleeping father" and is found by Simeon Holly and his wife. Realizing the man is dead, they try to figure out who David is, but all he can tell them is that he is "just David."
David is unable to tell them his last name, his father's name, or if he has any relatives. They find some letters on the dead man, but the signature on it is illegible. The couple reluctantly let him stay with them as he reminds them of their own son, John, whom they no longer speak with. David learns to adjust to live in the village, taking one of his two violins with him wherever he goes and "playing" the world around him, such as playing "the sunset" and "the flowers," and using his music to express his feelings. His innocence and musical skills charm the villagers and change several of their lives, uniting in marriage two childhood sweethearts who had grown apart. He also changes the Hollys, healing Simeon's heart enough that he reconnects with his son and allows him to come visit with his new wife and child.
During the visit, they learn that David's violins are quite valuable. His own is an Amati and his father's, which he had loaned to a blind friend, a Stradivarius. Reading the old letter from David's father, John recognizes the signature and realizes that David's father was a world-famous violinist who had disappeared with his son after his wife's death. David is sent to be reunited with his relatives and to study the violin. He becomes famous and wealthy, but continues to visit the Hollys every year to play for them.

Question: Why do the letters from the dead father not reveal his identity at first?
Answer: His signature is illegible.
David is a ten-year-old boy who plays the violin and does not know his last name. He leads an idyllic life in the mountains with his father, until his father becomes gravely ill, forcing them to go down into the valley. With his father's health worsening, they spend the night in a barn. Just before he dies, the father gives David a large number of gold coins, telling him to hide them until they are needed. David plays the violin to soothe his "sleeping father" and is found by Simeon Holly and his wife. Realizing the man is dead, they try to figure out who David is, but all he can tell them is that he is "just David."
David is unable to tell them his last name, his father's name, or if he has any relatives. They find some letters on the dead man, but the signature on it is illegible. The couple reluctantly let him stay with them as he reminds them of their own son, John, whom they no longer speak with. David learns to adjust to live in the village, taking one of his two violins with him wherever he goes and "playing" the world around him, such as playing "the sunset" and "the flowers," and using his music to express his feelings. His innocence and musical skills charm the villagers and change several of their lives, uniting in marriage two childhood sweethearts who had grown apart. He also changes the Hollys, healing Simeon's heart enough that he reconnects with his son and allows him to come visit with his new wife and child.
During the visit, they learn that David's violins are quite valuable. His own is an Amati and his father's, which he had loaned to a blind friend, a Stradivarius. Reading the old letter from David's father, John recognizes the signature and realizes that David's father was a world-famous violinist who had disappeared with his son after his wife's death. David is sent to be reunited with his relatives and to study the violin. He becomes famous and wealthy, but continues to visit the Hollys every year to play for them.

Question: What was one way David's music helps people in the village? 
Answer: His music helps reunite two childhood sweathearts in marriage.
David is a ten-year-old boy who plays the violin and does not know his last name. He leads an idyllic life in the mountains with his father, until his father becomes gravely ill, forcing them to go down into the valley. With his father's health worsening, they spend the night in a barn. Just before he dies, the father gives David a large number of gold coins, telling him to hide them until they are needed. David plays the violin to soothe his "sleeping father" and is found by Simeon Holly and his wife. Realizing the man is dead, they try to figure out who David is, but all he can tell them is that he is "just David."
David is unable to tell them his last name, his father's name, or if he has any relatives. They find some letters on the dead man, but the signature on it is illegible. The couple reluctantly let him stay with them as he reminds them of their own son, John, whom they no longer speak with. David learns to adjust to live in the village, taking one of his two violins with him wherever he goes and "playing" the world around him, such as playing "the sunset" and "the flowers," and using his music to express his feelings. His innocence and musical skills charm the villagers and change several of their lives, uniting in marriage two childhood sweethearts who had grown apart. He also changes the Hollys, healing Simeon's heart enough that he reconnects with his son and allows him to come visit with his new wife and child.
During the visit, they learn that David's violins are quite valuable. His own is an Amati and his father's, which he had loaned to a blind friend, a Stradivarius. Reading the old letter from David's father, John recognizes the signature and realizes that David's father was a world-famous violinist who had disappeared with his son after his wife's death. David is sent to be reunited with his relatives and to study the violin. He becomes famous and wealthy, but continues to visit the Hollys every year to play for them.

Question: Who was David's father?
Answer: A world famous violinist
David is a ten-year-old boy who plays the violin and does not know his last name. He leads an idyllic life in the mountains with his father, until his father becomes gravely ill, forcing them to go down into the valley. With his father's health worsening, they spend the night in a barn. Just before he dies, the father gives David a large number of gold coins, telling him to hide them until they are needed. David plays the violin to soothe his "sleeping father" and is found by Simeon Holly and his wife. Realizing the man is dead, they try to figure out who David is, but all he can tell them is that he is "just David."
David is unable to tell them his last name, his father's name, or if he has any relatives. They find some letters on the dead man, but the signature on it is illegible. The couple reluctantly let him stay with them as he reminds them of their own son, John, whom they no longer speak with. David learns to adjust to live in the village, taking one of his two violins with him wherever he goes and "playing" the world around him, such as playing "the sunset" and "the flowers," and using his music to express his feelings. His innocence and musical skills charm the villagers and change several of their lives, uniting in marriage two childhood sweethearts who had grown apart. He also changes the Hollys, healing Simeon's heart enough that he reconnects with his son and allows him to come visit with his new wife and child.
During the visit, they learn that David's violins are quite valuable. His own is an Amati and his father's, which he had loaned to a blind friend, a Stradivarius. Reading the old letter from David's father, John recognizes the signature and realizes that David's father was a world-famous violinist who had disappeared with his son after his wife's death. David is sent to be reunited with his relatives and to study the violin. He becomes famous and wealthy, but continues to visit the Hollys every year to play for them.

Question: What is special about David's violins? 
Answer: They are very valuable.