YuITC/NarrativeQA-Dataset-Restructured huggingface dataset:
The story opens with a quick overview of Santa's castle in the Laughing Valley. Its focus soon switches to the five Caves of the Daemons in nearby (though unnamed) mountains. These creatures are pagan daemons rather than Christian demons, in that they are not servants of Satan or necessarily evil. Four of the five, the Daemons of Selfishness, Envy, Hatred, and Malice, certainly are bad, but the fifth, the Daemon of Repentance, is a more ambiguous figure.
The Daemons of the Caves resent Santa Claus because children under the influence of his gifts rarely visit their caves. They decide to frustrate his efforts and counter his influence. (The Daemon of Repentance goes along with the plan, since children cannot reach his remote cave without passing through the caves of his compatriots beforehand.) The Daemons first try to tempt Santa Claus to their own vices; they visit him one by one, and attempt to lure him into selfishness, envy, and hatred. Santa Claus merely laughs at their clumsy efforts. (The obvious model for these episodes is the Temptation of Christ in the Synoptic Gospels.) Failing at temptation, the Daemons instead kidnap Santa Claus; they lasso him as he is riding in his sleigh on Christmas Eve, and bind him in their caverns.
Santa Claus is accompanied on his rounds by a fairy, pixie, knook, and ryl, who travel under the seat of his sleigh; once the four realize that Santa is gone, they endeavor to complete his mission and deliver the gifts. They generally succeed, though with some mistakes; they deliver a toy drum to a little girl and a sewing kit to a little boy. Overall, though, they manage to save Christmas. Then they report Santa's absence; the queen of the fairies in the Forest of Burzee knows what has happened. An army of magical creatures is mustered to rescue the missing hero. Meanwhile, though, Santa is released from captivity by the Daemon of Repentance, who has repented the kidnapping. Santa meets the army on its way, and turns it back from attacking the daemons.
(In the seventh chapter of The Life and Adventures of Santa Claus, titled "The Great Battle Between Good and Evil," Baum depicts a combat between massed magical forces. Here in the short story he avoids that spectacle, a strategy he would employ again in the climax of the sixth Oz book, The Emerald City of Oz, in 1910.)

Question: How did The Daemons kidnap Santa Clause? 
Answer: They lasso him off the sleigh.
The story opens with a quick overview of Santa's castle in the Laughing Valley. Its focus soon switches to the five Caves of the Daemons in nearby (though unnamed) mountains. These creatures are pagan daemons rather than Christian demons, in that they are not servants of Satan or necessarily evil. Four of the five, the Daemons of Selfishness, Envy, Hatred, and Malice, certainly are bad, but the fifth, the Daemon of Repentance, is a more ambiguous figure.
The Daemons of the Caves resent Santa Claus because children under the influence of his gifts rarely visit their caves. They decide to frustrate his efforts and counter his influence. (The Daemon of Repentance goes along with the plan, since children cannot reach his remote cave without passing through the caves of his compatriots beforehand.) The Daemons first try to tempt Santa Claus to their own vices; they visit him one by one, and attempt to lure him into selfishness, envy, and hatred. Santa Claus merely laughs at their clumsy efforts. (The obvious model for these episodes is the Temptation of Christ in the Synoptic Gospels.) Failing at temptation, the Daemons instead kidnap Santa Claus; they lasso him as he is riding in his sleigh on Christmas Eve, and bind him in their caverns.
Santa Claus is accompanied on his rounds by a fairy, pixie, knook, and ryl, who travel under the seat of his sleigh; once the four realize that Santa is gone, they endeavor to complete his mission and deliver the gifts. They generally succeed, though with some mistakes; they deliver a toy drum to a little girl and a sewing kit to a little boy. Overall, though, they manage to save Christmas. Then they report Santa's absence; the queen of the fairies in the Forest of Burzee knows what has happened. An army of magical creatures is mustered to rescue the missing hero. Meanwhile, though, Santa is released from captivity by the Daemon of Repentance, who has repented the kidnapping. Santa meets the army on its way, and turns it back from attacking the daemons.
(In the seventh chapter of The Life and Adventures of Santa Claus, titled "The Great Battle Between Good and Evil," Baum depicts a combat between massed magical forces. Here in the short story he avoids that spectacle, a strategy he would employ again in the climax of the sixth Oz book, The Emerald City of Oz, in 1910.)

Question: Who eventually releases Santa? 
Answer: Repentance.
The story opens with a quick overview of Santa's castle in the Laughing Valley. Its focus soon switches to the five Caves of the Daemons in nearby (though unnamed) mountains. These creatures are pagan daemons rather than Christian demons, in that they are not servants of Satan or necessarily evil. Four of the five, the Daemons of Selfishness, Envy, Hatred, and Malice, certainly are bad, but the fifth, the Daemon of Repentance, is a more ambiguous figure.
The Daemons of the Caves resent Santa Claus because children under the influence of his gifts rarely visit their caves. They decide to frustrate his efforts and counter his influence. (The Daemon of Repentance goes along with the plan, since children cannot reach his remote cave without passing through the caves of his compatriots beforehand.) The Daemons first try to tempt Santa Claus to their own vices; they visit him one by one, and attempt to lure him into selfishness, envy, and hatred. Santa Claus merely laughs at their clumsy efforts. (The obvious model for these episodes is the Temptation of Christ in the Synoptic Gospels.) Failing at temptation, the Daemons instead kidnap Santa Claus; they lasso him as he is riding in his sleigh on Christmas Eve, and bind him in their caverns.
Santa Claus is accompanied on his rounds by a fairy, pixie, knook, and ryl, who travel under the seat of his sleigh; once the four realize that Santa is gone, they endeavor to complete his mission and deliver the gifts. They generally succeed, though with some mistakes; they deliver a toy drum to a little girl and a sewing kit to a little boy. Overall, though, they manage to save Christmas. Then they report Santa's absence; the queen of the fairies in the Forest of Burzee knows what has happened. An army of magical creatures is mustered to rescue the missing hero. Meanwhile, though, Santa is released from captivity by the Daemon of Repentance, who has repented the kidnapping. Santa meets the army on its way, and turns it back from attacking the daemons.
(In the seventh chapter of The Life and Adventures of Santa Claus, titled "The Great Battle Between Good and Evil," Baum depicts a combat between massed magical forces. Here in the short story he avoids that spectacle, a strategy he would employ again in the climax of the sixth Oz book, The Emerald City of Oz, in 1910.)

Question: What are the five vices of the Daemons? 
Answer: Selfishness, envy, hatred, malice, and repentance
The story opens with a quick overview of Santa's castle in the Laughing Valley. Its focus soon switches to the five Caves of the Daemons in nearby (though unnamed) mountains. These creatures are pagan daemons rather than Christian demons, in that they are not servants of Satan or necessarily evil. Four of the five, the Daemons of Selfishness, Envy, Hatred, and Malice, certainly are bad, but the fifth, the Daemon of Repentance, is a more ambiguous figure.
The Daemons of the Caves resent Santa Claus because children under the influence of his gifts rarely visit their caves. They decide to frustrate his efforts and counter his influence. (The Daemon of Repentance goes along with the plan, since children cannot reach his remote cave without passing through the caves of his compatriots beforehand.) The Daemons first try to tempt Santa Claus to their own vices; they visit him one by one, and attempt to lure him into selfishness, envy, and hatred. Santa Claus merely laughs at their clumsy efforts. (The obvious model for these episodes is the Temptation of Christ in the Synoptic Gospels.) Failing at temptation, the Daemons instead kidnap Santa Claus; they lasso him as he is riding in his sleigh on Christmas Eve, and bind him in their caverns.
Santa Claus is accompanied on his rounds by a fairy, pixie, knook, and ryl, who travel under the seat of his sleigh; once the four realize that Santa is gone, they endeavor to complete his mission and deliver the gifts. They generally succeed, though with some mistakes; they deliver a toy drum to a little girl and a sewing kit to a little boy. Overall, though, they manage to save Christmas. Then they report Santa's absence; the queen of the fairies in the Forest of Burzee knows what has happened. An army of magical creatures is mustered to rescue the missing hero. Meanwhile, though, Santa is released from captivity by the Daemon of Repentance, who has repented the kidnapping. Santa meets the army on its way, and turns it back from attacking the daemons.
(In the seventh chapter of The Life and Adventures of Santa Claus, titled "The Great Battle Between Good and Evil," Baum depicts a combat between massed magical forces. Here in the short story he avoids that spectacle, a strategy he would employ again in the climax of the sixth Oz book, The Emerald City of Oz, in 1910.)

Question: What religion do The Daemons stem from? 
Answer: Pagan.
The Rosaura subplot has been subjected to much criticism in the past as not belonging to the work. MenĂŠndez y Pelayo saw it as a strange and exotic plot, like a parasitical vine. Rosaura has also been dismissed as the simple stock character of the jilted woman. With the British School of Calderonistas, this attitude changed. A. E. Sloman explained how the main and secondary actions are linked. Others like E. M. Wilson and William M. Whitby consider Rosaura to be central to the work since she parallels Segismundo's actions and also serves as Segismundo's guide, leading him to a final conversion. For some Rosaura must be studied as part of a Platonic ascent on the part of the Prince. Others compare her first appearance, falling from a horse/hippogriff to the plot of Ariosto's Orlando furioso where Astolfo (the name of the character who deceives Rosaura in our play), also rides the hippogriff and witnesses a prophecy of the return of the mythical Golden Age. For Frederick de Armas, Rosaura hides a mythological mystery already utilized by Ariosto. When she goes to Court, she takes on the name of Astraea, the goddess of chastity and justice. Astraea was the last of the immortals to leave earth with the decline of the ages. Her return signals the return of a Golden Age. Many writers of the Renaissance and early modern periods used the figure of Astraea to praise the rulers of their times. It is possible that Rosaura (an anagram of auroras, "dawns") could represent the return of a Golden Age during the reign of Segismundo, a figure that represents King Philip IV of Spain.

Question: What name does Rosaura give herself when she goes to Court?
Answer: Astraea.
The Rosaura subplot has been subjected to much criticism in the past as not belonging to the work. MenĂŠndez y Pelayo saw it as a strange and exotic plot, like a parasitical vine. Rosaura has also been dismissed as the simple stock character of the jilted woman. With the British School of Calderonistas, this attitude changed. A. E. Sloman explained how the main and secondary actions are linked. Others like E. M. Wilson and William M. Whitby consider Rosaura to be central to the work since she parallels Segismundo's actions and also serves as Segismundo's guide, leading him to a final conversion. For some Rosaura must be studied as part of a Platonic ascent on the part of the Prince. Others compare her first appearance, falling from a horse/hippogriff to the plot of Ariosto's Orlando furioso where Astolfo (the name of the character who deceives Rosaura in our play), also rides the hippogriff and witnesses a prophecy of the return of the mythical Golden Age. For Frederick de Armas, Rosaura hides a mythological mystery already utilized by Ariosto. When she goes to Court, she takes on the name of Astraea, the goddess of chastity and justice. Astraea was the last of the immortals to leave earth with the decline of the ages. Her return signals the return of a Golden Age. Many writers of the Renaissance and early modern periods used the figure of Astraea to praise the rulers of their times. It is possible that Rosaura (an anagram of auroras, "dawns") could represent the return of a Golden Age during the reign of Segismundo, a figure that represents King Philip IV of Spain.

Question: What may Rousara possibly be representing?
Answer: The return of a Golden Age.
The Rosaura subplot has been subjected to much criticism in the past as not belonging to the work. MenĂŠndez y Pelayo saw it as a strange and exotic plot, like a parasitical vine. Rosaura has also been dismissed as the simple stock character of the jilted woman. With the British School of Calderonistas, this attitude changed. A. E. Sloman explained how the main and secondary actions are linked. Others like E. M. Wilson and William M. Whitby consider Rosaura to be central to the work since she parallels Segismundo's actions and also serves as Segismundo's guide, leading him to a final conversion. For some Rosaura must be studied as part of a Platonic ascent on the part of the Prince. Others compare her first appearance, falling from a horse/hippogriff to the plot of Ariosto's Orlando furioso where Astolfo (the name of the character who deceives Rosaura in our play), also rides the hippogriff and witnesses a prophecy of the return of the mythical Golden Age. For Frederick de Armas, Rosaura hides a mythological mystery already utilized by Ariosto. When she goes to Court, she takes on the name of Astraea, the goddess of chastity and justice. Astraea was the last of the immortals to leave earth with the decline of the ages. Her return signals the return of a Golden Age. Many writers of the Renaissance and early modern periods used the figure of Astraea to praise the rulers of their times. It is possible that Rosaura (an anagram of auroras, "dawns") could represent the return of a Golden Age during the reign of Segismundo, a figure that represents King Philip IV of Spain.

Question: What is Astraea goddess of?
Answer: Chastity and justice.
The Rosaura subplot has been subjected to much criticism in the past as not belonging to the work. MenĂŠndez y Pelayo saw it as a strange and exotic plot, like a parasitical vine. Rosaura has also been dismissed as the simple stock character of the jilted woman. With the British School of Calderonistas, this attitude changed. A. E. Sloman explained how the main and secondary actions are linked. Others like E. M. Wilson and William M. Whitby consider Rosaura to be central to the work since she parallels Segismundo's actions and also serves as Segismundo's guide, leading him to a final conversion. For some Rosaura must be studied as part of a Platonic ascent on the part of the Prince. Others compare her first appearance, falling from a horse/hippogriff to the plot of Ariosto's Orlando furioso where Astolfo (the name of the character who deceives Rosaura in our play), also rides the hippogriff and witnesses a prophecy of the return of the mythical Golden Age. For Frederick de Armas, Rosaura hides a mythological mystery already utilized by Ariosto. When she goes to Court, she takes on the name of Astraea, the goddess of chastity and justice. Astraea was the last of the immortals to leave earth with the decline of the ages. Her return signals the return of a Golden Age. Many writers of the Renaissance and early modern periods used the figure of Astraea to praise the rulers of their times. It is possible that Rosaura (an anagram of auroras, "dawns") could represent the return of a Golden Age during the reign of Segismundo, a figure that represents King Philip IV of Spain.

Question: When was the return of a Golden Age that Rousara may be representing?
Answer: During the reign of Segismundo.
The Rosaura subplot has been subjected to much criticism in the past as not belonging to the work. MenĂŠndez y Pelayo saw it as a strange and exotic plot, like a parasitical vine. Rosaura has also been dismissed as the simple stock character of the jilted woman. With the British School of Calderonistas, this attitude changed. A. E. Sloman explained how the main and secondary actions are linked. Others like E. M. Wilson and William M. Whitby consider Rosaura to be central to the work since she parallels Segismundo's actions and also serves as Segismundo's guide, leading him to a final conversion. For some Rosaura must be studied as part of a Platonic ascent on the part of the Prince. Others compare her first appearance, falling from a horse/hippogriff to the plot of Ariosto's Orlando furioso where Astolfo (the name of the character who deceives Rosaura in our play), also rides the hippogriff and witnesses a prophecy of the return of the mythical Golden Age. For Frederick de Armas, Rosaura hides a mythological mystery already utilized by Ariosto. When she goes to Court, she takes on the name of Astraea, the goddess of chastity and justice. Astraea was the last of the immortals to leave earth with the decline of the ages. Her return signals the return of a Golden Age. Many writers of the Renaissance and early modern periods used the figure of Astraea to praise the rulers of their times. It is possible that Rosaura (an anagram of auroras, "dawns") could represent the return of a Golden Age during the reign of Segismundo, a figure that represents King Philip IV of Spain.

Question: What was representing King Phillip IV of Spain?
Answer: The return of a Golden Age during Segismundo.
The Rosaura subplot has been subjected to much criticism in the past as not belonging to the work. MenĂŠndez y Pelayo saw it as a strange and exotic plot, like a parasitical vine. Rosaura has also been dismissed as the simple stock character of the jilted woman. With the British School of Calderonistas, this attitude changed. A. E. Sloman explained how the main and secondary actions are linked. Others like E. M. Wilson and William M. Whitby consider Rosaura to be central to the work since she parallels Segismundo's actions and also serves as Segismundo's guide, leading him to a final conversion. For some Rosaura must be studied as part of a Platonic ascent on the part of the Prince. Others compare her first appearance, falling from a horse/hippogriff to the plot of Ariosto's Orlando furioso where Astolfo (the name of the character who deceives Rosaura in our play), also rides the hippogriff and witnesses a prophecy of the return of the mythical Golden Age. For Frederick de Armas, Rosaura hides a mythological mystery already utilized by Ariosto. When she goes to Court, she takes on the name of Astraea, the goddess of chastity and justice. Astraea was the last of the immortals to leave earth with the decline of the ages. Her return signals the return of a Golden Age. Many writers of the Renaissance and early modern periods used the figure of Astraea to praise the rulers of their times. It is possible that Rosaura (an anagram of auroras, "dawns") could represent the return of a Golden Age during the reign of Segismundo, a figure that represents King Philip IV of Spain.

Question: When does Rosaura give herself a different name?
Answer: When she goes to Court.
The Rosaura subplot has been subjected to much criticism in the past as not belonging to the work. MenĂŠndez y Pelayo saw it as a strange and exotic plot, like a parasitical vine. Rosaura has also been dismissed as the simple stock character of the jilted woman. With the British School of Calderonistas, this attitude changed. A. E. Sloman explained how the main and secondary actions are linked. Others like E. M. Wilson and William M. Whitby consider Rosaura to be central to the work since she parallels Segismundo's actions and also serves as Segismundo's guide, leading him to a final conversion. For some Rosaura must be studied as part of a Platonic ascent on the part of the Prince. Others compare her first appearance, falling from a horse/hippogriff to the plot of Ariosto's Orlando furioso where Astolfo (the name of the character who deceives Rosaura in our play), also rides the hippogriff and witnesses a prophecy of the return of the mythical Golden Age. For Frederick de Armas, Rosaura hides a mythological mystery already utilized by Ariosto. When she goes to Court, she takes on the name of Astraea, the goddess of chastity and justice. Astraea was the last of the immortals to leave earth with the decline of the ages. Her return signals the return of a Golden Age. Many writers of the Renaissance and early modern periods used the figure of Astraea to praise the rulers of their times. It is possible that Rosaura (an anagram of auroras, "dawns") could represent the return of a Golden Age during the reign of Segismundo, a figure that represents King Philip IV of Spain.

Question: Who was the last immortal to leave Earth?
Answer: Astraea.
The Rosaura subplot has been subjected to much criticism in the past as not belonging to the work. MenĂŠndez y Pelayo saw it as a strange and exotic plot, like a parasitical vine. Rosaura has also been dismissed as the simple stock character of the jilted woman. With the British School of Calderonistas, this attitude changed. A. E. Sloman explained how the main and secondary actions are linked. Others like E. M. Wilson and William M. Whitby consider Rosaura to be central to the work since she parallels Segismundo's actions and also serves as Segismundo's guide, leading him to a final conversion. For some Rosaura must be studied as part of a Platonic ascent on the part of the Prince. Others compare her first appearance, falling from a horse/hippogriff to the plot of Ariosto's Orlando furioso where Astolfo (the name of the character who deceives Rosaura in our play), also rides the hippogriff and witnesses a prophecy of the return of the mythical Golden Age. For Frederick de Armas, Rosaura hides a mythological mystery already utilized by Ariosto. When she goes to Court, she takes on the name of Astraea, the goddess of chastity and justice. Astraea was the last of the immortals to leave earth with the decline of the ages. Her return signals the return of a Golden Age. Many writers of the Renaissance and early modern periods used the figure of Astraea to praise the rulers of their times. It is possible that Rosaura (an anagram of auroras, "dawns") could represent the return of a Golden Age during the reign of Segismundo, a figure that represents King Philip IV of Spain.

Question: Which land is the King from who is being represented under the return of a Golden Age during Segismundo?
Answer: Spain.
The Rosaura subplot has been subjected to much criticism in the past as not belonging to the work. MenĂŠndez y Pelayo saw it as a strange and exotic plot, like a parasitical vine. Rosaura has also been dismissed as the simple stock character of the jilted woman. With the British School of Calderonistas, this attitude changed. A. E. Sloman explained how the main and secondary actions are linked. Others like E. M. Wilson and William M. Whitby consider Rosaura to be central to the work since she parallels Segismundo's actions and also serves as Segismundo's guide, leading him to a final conversion. For some Rosaura must be studied as part of a Platonic ascent on the part of the Prince. Others compare her first appearance, falling from a horse/hippogriff to the plot of Ariosto's Orlando furioso where Astolfo (the name of the character who deceives Rosaura in our play), also rides the hippogriff and witnesses a prophecy of the return of the mythical Golden Age. For Frederick de Armas, Rosaura hides a mythological mystery already utilized by Ariosto. When she goes to Court, she takes on the name of Astraea, the goddess of chastity and justice. Astraea was the last of the immortals to leave earth with the decline of the ages. Her return signals the return of a Golden Age. Many writers of the Renaissance and early modern periods used the figure of Astraea to praise the rulers of their times. It is possible that Rosaura (an anagram of auroras, "dawns") could represent the return of a Golden Age during the reign of Segismundo, a figure that represents King Philip IV of Spain.

Question: Who rides the hippogriff?
Answer: Rosaura.
The Rosaura subplot has been subjected to much criticism in the past as not belonging to the work. MenĂŠndez y Pelayo saw it as a strange and exotic plot, like a parasitical vine. Rosaura has also been dismissed as the simple stock character of the jilted woman. With the British School of Calderonistas, this attitude changed. A. E. Sloman explained how the main and secondary actions are linked. Others like E. M. Wilson and William M. Whitby consider Rosaura to be central to the work since she parallels Segismundo's actions and also serves as Segismundo's guide, leading him to a final conversion. For some Rosaura must be studied as part of a Platonic ascent on the part of the Prince. Others compare her first appearance, falling from a horse/hippogriff to the plot of Ariosto's Orlando furioso where Astolfo (the name of the character who deceives Rosaura in our play), also rides the hippogriff and witnesses a prophecy of the return of the mythical Golden Age. For Frederick de Armas, Rosaura hides a mythological mystery already utilized by Ariosto. When she goes to Court, she takes on the name of Astraea, the goddess of chastity and justice. Astraea was the last of the immortals to leave earth with the decline of the ages. Her return signals the return of a Golden Age. Many writers of the Renaissance and early modern periods used the figure of Astraea to praise the rulers of their times. It is possible that Rosaura (an anagram of auroras, "dawns") could represent the return of a Golden Age during the reign of Segismundo, a figure that represents King Philip IV of Spain.

Question: What does Astraea's return signify?
Answer: The return of the Golden Ages.
The Rosaura subplot has been subjected to much criticism in the past as not belonging to the work. MenĂŠndez y Pelayo saw it as a strange and exotic plot, like a parasitical vine. Rosaura has also been dismissed as the simple stock character of the jilted woman. With the British School of Calderonistas, this attitude changed. A. E. Sloman explained how the main and secondary actions are linked. Others like E. M. Wilson and William M. Whitby consider Rosaura to be central to the work since she parallels Segismundo's actions and also serves as Segismundo's guide, leading him to a final conversion. For some Rosaura must be studied as part of a Platonic ascent on the part of the Prince. Others compare her first appearance, falling from a horse/hippogriff to the plot of Ariosto's Orlando furioso where Astolfo (the name of the character who deceives Rosaura in our play), also rides the hippogriff and witnesses a prophecy of the return of the mythical Golden Age. For Frederick de Armas, Rosaura hides a mythological mystery already utilized by Ariosto. When she goes to Court, she takes on the name of Astraea, the goddess of chastity and justice. Astraea was the last of the immortals to leave earth with the decline of the ages. Her return signals the return of a Golden Age. Many writers of the Renaissance and early modern periods used the figure of Astraea to praise the rulers of their times. It is possible that Rosaura (an anagram of auroras, "dawns") could represent the return of a Golden Age during the reign of Segismundo, a figure that represents King Philip IV of Spain.

Question: What do Menendez y Pelayo compare the Rosaura subplot to?
Answer: A parasitical vine
The Rosaura subplot has been subjected to much criticism in the past as not belonging to the work. MenĂŠndez y Pelayo saw it as a strange and exotic plot, like a parasitical vine. Rosaura has also been dismissed as the simple stock character of the jilted woman. With the British School of Calderonistas, this attitude changed. A. E. Sloman explained how the main and secondary actions are linked. Others like E. M. Wilson and William M. Whitby consider Rosaura to be central to the work since she parallels Segismundo's actions and also serves as Segismundo's guide, leading him to a final conversion. For some Rosaura must be studied as part of a Platonic ascent on the part of the Prince. Others compare her first appearance, falling from a horse/hippogriff to the plot of Ariosto's Orlando furioso where Astolfo (the name of the character who deceives Rosaura in our play), also rides the hippogriff and witnesses a prophecy of the return of the mythical Golden Age. For Frederick de Armas, Rosaura hides a mythological mystery already utilized by Ariosto. When she goes to Court, she takes on the name of Astraea, the goddess of chastity and justice. Astraea was the last of the immortals to leave earth with the decline of the ages. Her return signals the return of a Golden Age. Many writers of the Renaissance and early modern periods used the figure of Astraea to praise the rulers of their times. It is possible that Rosaura (an anagram of auroras, "dawns") could represent the return of a Golden Age during the reign of Segismundo, a figure that represents King Philip IV of Spain.

Question: What animal does Rosaura fall off during her first appearance?
Answer: A horse/hippogriff
The Rosaura subplot has been subjected to much criticism in the past as not belonging to the work. MenĂŠndez y Pelayo saw it as a strange and exotic plot, like a parasitical vine. Rosaura has also been dismissed as the simple stock character of the jilted woman. With the British School of Calderonistas, this attitude changed. A. E. Sloman explained how the main and secondary actions are linked. Others like E. M. Wilson and William M. Whitby consider Rosaura to be central to the work since she parallels Segismundo's actions and also serves as Segismundo's guide, leading him to a final conversion. For some Rosaura must be studied as part of a Platonic ascent on the part of the Prince. Others compare her first appearance, falling from a horse/hippogriff to the plot of Ariosto's Orlando furioso where Astolfo (the name of the character who deceives Rosaura in our play), also rides the hippogriff and witnesses a prophecy of the return of the mythical Golden Age. For Frederick de Armas, Rosaura hides a mythological mystery already utilized by Ariosto. When she goes to Court, she takes on the name of Astraea, the goddess of chastity and justice. Astraea was the last of the immortals to leave earth with the decline of the ages. Her return signals the return of a Golden Age. Many writers of the Renaissance and early modern periods used the figure of Astraea to praise the rulers of their times. It is possible that Rosaura (an anagram of auroras, "dawns") could represent the return of a Golden Age during the reign of Segismundo, a figure that represents King Philip IV of Spain.

Question: What name does Rosauras take on at court?
Answer: Astraea
The Rosaura subplot has been subjected to much criticism in the past as not belonging to the work. MenĂŠndez y Pelayo saw it as a strange and exotic plot, like a parasitical vine. Rosaura has also been dismissed as the simple stock character of the jilted woman. With the British School of Calderonistas, this attitude changed. A. E. Sloman explained how the main and secondary actions are linked. Others like E. M. Wilson and William M. Whitby consider Rosaura to be central to the work since she parallels Segismundo's actions and also serves as Segismundo's guide, leading him to a final conversion. For some Rosaura must be studied as part of a Platonic ascent on the part of the Prince. Others compare her first appearance, falling from a horse/hippogriff to the plot of Ariosto's Orlando furioso where Astolfo (the name of the character who deceives Rosaura in our play), also rides the hippogriff and witnesses a prophecy of the return of the mythical Golden Age. For Frederick de Armas, Rosaura hides a mythological mystery already utilized by Ariosto. When she goes to Court, she takes on the name of Astraea, the goddess of chastity and justice. Astraea was the last of the immortals to leave earth with the decline of the ages. Her return signals the return of a Golden Age. Many writers of the Renaissance and early modern periods used the figure of Astraea to praise the rulers of their times. It is possible that Rosaura (an anagram of auroras, "dawns") could represent the return of a Golden Age during the reign of Segismundo, a figure that represents King Philip IV of Spain.

Question: Who was the last immortal to leave earth with the decline of ages?
Answer: Astraea
The Rosaura subplot has been subjected to much criticism in the past as not belonging to the work. MenĂŠndez y Pelayo saw it as a strange and exotic plot, like a parasitical vine. Rosaura has also been dismissed as the simple stock character of the jilted woman. With the British School of Calderonistas, this attitude changed. A. E. Sloman explained how the main and secondary actions are linked. Others like E. M. Wilson and William M. Whitby consider Rosaura to be central to the work since she parallels Segismundo's actions and also serves as Segismundo's guide, leading him to a final conversion. For some Rosaura must be studied as part of a Platonic ascent on the part of the Prince. Others compare her first appearance, falling from a horse/hippogriff to the plot of Ariosto's Orlando furioso where Astolfo (the name of the character who deceives Rosaura in our play), also rides the hippogriff and witnesses a prophecy of the return of the mythical Golden Age. For Frederick de Armas, Rosaura hides a mythological mystery already utilized by Ariosto. When she goes to Court, she takes on the name of Astraea, the goddess of chastity and justice. Astraea was the last of the immortals to leave earth with the decline of the ages. Her return signals the return of a Golden Age. Many writers of the Renaissance and early modern periods used the figure of Astraea to praise the rulers of their times. It is possible that Rosaura (an anagram of auroras, "dawns") could represent the return of a Golden Age during the reign of Segismundo, a figure that represents King Philip IV of Spain.

Question: What signals the return of the mythical Golden Age?
Answer: The arrival of Astraea
The Rosaura subplot has been subjected to much criticism in the past as not belonging to the work. MenĂŠndez y Pelayo saw it as a strange and exotic plot, like a parasitical vine. Rosaura has also been dismissed as the simple stock character of the jilted woman. With the British School of Calderonistas, this attitude changed. A. E. Sloman explained how the main and secondary actions are linked. Others like E. M. Wilson and William M. Whitby consider Rosaura to be central to the work since she parallels Segismundo's actions and also serves as Segismundo's guide, leading him to a final conversion. For some Rosaura must be studied as part of a Platonic ascent on the part of the Prince. Others compare her first appearance, falling from a horse/hippogriff to the plot of Ariosto's Orlando furioso where Astolfo (the name of the character who deceives Rosaura in our play), also rides the hippogriff and witnesses a prophecy of the return of the mythical Golden Age. For Frederick de Armas, Rosaura hides a mythological mystery already utilized by Ariosto. When she goes to Court, she takes on the name of Astraea, the goddess of chastity and justice. Astraea was the last of the immortals to leave earth with the decline of the ages. Her return signals the return of a Golden Age. Many writers of the Renaissance and early modern periods used the figure of Astraea to praise the rulers of their times. It is possible that Rosaura (an anagram of auroras, "dawns") could represent the return of a Golden Age during the reign of Segismundo, a figure that represents King Philip IV of Spain.

Question: What character in Ariosto's Orlando furioso is Rosaura compared to?
Answer: Astolfo
The Rosaura subplot has been subjected to much criticism in the past as not belonging to the work. MenĂŠndez y Pelayo saw it as a strange and exotic plot, like a parasitical vine. Rosaura has also been dismissed as the simple stock character of the jilted woman. With the British School of Calderonistas, this attitude changed. A. E. Sloman explained how the main and secondary actions are linked. Others like E. M. Wilson and William M. Whitby consider Rosaura to be central to the work since she parallels Segismundo's actions and also serves as Segismundo's guide, leading him to a final conversion. For some Rosaura must be studied as part of a Platonic ascent on the part of the Prince. Others compare her first appearance, falling from a horse/hippogriff to the plot of Ariosto's Orlando furioso where Astolfo (the name of the character who deceives Rosaura in our play), also rides the hippogriff and witnesses a prophecy of the return of the mythical Golden Age. For Frederick de Armas, Rosaura hides a mythological mystery already utilized by Ariosto. When she goes to Court, she takes on the name of Astraea, the goddess of chastity and justice. Astraea was the last of the immortals to leave earth with the decline of the ages. Her return signals the return of a Golden Age. Many writers of the Renaissance and early modern periods used the figure of Astraea to praise the rulers of their times. It is possible that Rosaura (an anagram of auroras, "dawns") could represent the return of a Golden Age during the reign of Segismundo, a figure that represents King Philip IV of Spain.

Question: What character decieves Rosaura?
Answer: Astolfo
The Rosaura subplot has been subjected to much criticism in the past as not belonging to the work. MenĂŠndez y Pelayo saw it as a strange and exotic plot, like a parasitical vine. Rosaura has also been dismissed as the simple stock character of the jilted woman. With the British School of Calderonistas, this attitude changed. A. E. Sloman explained how the main and secondary actions are linked. Others like E. M. Wilson and William M. Whitby consider Rosaura to be central to the work since she parallels Segismundo's actions and also serves as Segismundo's guide, leading him to a final conversion. For some Rosaura must be studied as part of a Platonic ascent on the part of the Prince. Others compare her first appearance, falling from a horse/hippogriff to the plot of Ariosto's Orlando furioso where Astolfo (the name of the character who deceives Rosaura in our play), also rides the hippogriff and witnesses a prophecy of the return of the mythical Golden Age. For Frederick de Armas, Rosaura hides a mythological mystery already utilized by Ariosto. When she goes to Court, she takes on the name of Astraea, the goddess of chastity and justice. Astraea was the last of the immortals to leave earth with the decline of the ages. Her return signals the return of a Golden Age. Many writers of the Renaissance and early modern periods used the figure of Astraea to praise the rulers of their times. It is possible that Rosaura (an anagram of auroras, "dawns") could represent the return of a Golden Age during the reign of Segismundo, a figure that represents King Philip IV of Spain.

Question: What is Astraea the goddess of?
Answer: Chastity and justice
The Rosaura subplot has been subjected to much criticism in the past as not belonging to the work. MenĂŠndez y Pelayo saw it as a strange and exotic plot, like a parasitical vine. Rosaura has also been dismissed as the simple stock character of the jilted woman. With the British School of Calderonistas, this attitude changed. A. E. Sloman explained how the main and secondary actions are linked. Others like E. M. Wilson and William M. Whitby consider Rosaura to be central to the work since she parallels Segismundo's actions and also serves as Segismundo's guide, leading him to a final conversion. For some Rosaura must be studied as part of a Platonic ascent on the part of the Prince. Others compare her first appearance, falling from a horse/hippogriff to the plot of Ariosto's Orlando furioso where Astolfo (the name of the character who deceives Rosaura in our play), also rides the hippogriff and witnesses a prophecy of the return of the mythical Golden Age. For Frederick de Armas, Rosaura hides a mythological mystery already utilized by Ariosto. When she goes to Court, she takes on the name of Astraea, the goddess of chastity and justice. Astraea was the last of the immortals to leave earth with the decline of the ages. Her return signals the return of a Golden Age. Many writers of the Renaissance and early modern periods used the figure of Astraea to praise the rulers of their times. It is possible that Rosaura (an anagram of auroras, "dawns") could represent the return of a Golden Age during the reign of Segismundo, a figure that represents King Philip IV of Spain.

Question: Whose actions is Rosaura said to parallel?
Answer: Segismundo
The Rosaura subplot has been subjected to much criticism in the past as not belonging to the work. MenĂŠndez y Pelayo saw it as a strange and exotic plot, like a parasitical vine. Rosaura has also been dismissed as the simple stock character of the jilted woman. With the British School of Calderonistas, this attitude changed. A. E. Sloman explained how the main and secondary actions are linked. Others like E. M. Wilson and William M. Whitby consider Rosaura to be central to the work since she parallels Segismundo's actions and also serves as Segismundo's guide, leading him to a final conversion. For some Rosaura must be studied as part of a Platonic ascent on the part of the Prince. Others compare her first appearance, falling from a horse/hippogriff to the plot of Ariosto's Orlando furioso where Astolfo (the name of the character who deceives Rosaura in our play), also rides the hippogriff and witnesses a prophecy of the return of the mythical Golden Age. For Frederick de Armas, Rosaura hides a mythological mystery already utilized by Ariosto. When she goes to Court, she takes on the name of Astraea, the goddess of chastity and justice. Astraea was the last of the immortals to leave earth with the decline of the ages. Her return signals the return of a Golden Age. Many writers of the Renaissance and early modern periods used the figure of Astraea to praise the rulers of their times. It is possible that Rosaura (an anagram of auroras, "dawns") could represent the return of a Golden Age during the reign of Segismundo, a figure that represents King Philip IV of Spain.

Question: What real life person is the character of Segismundo said to represent?
Answer: King Philip IV of Spain
The Rosaura subplot has been subjected to much criticism in the past as not belonging to the work. MenĂŠndez y Pelayo saw it as a strange and exotic plot, like a parasitical vine. Rosaura has also been dismissed as the simple stock character of the jilted woman. With the British School of Calderonistas, this attitude changed. A. E. Sloman explained how the main and secondary actions are linked. Others like E. M. Wilson and William M. Whitby consider Rosaura to be central to the work since she parallels Segismundo's actions and also serves as Segismundo's guide, leading him to a final conversion. For some Rosaura must be studied as part of a Platonic ascent on the part of the Prince. Others compare her first appearance, falling from a horse/hippogriff to the plot of Ariosto's Orlando furioso where Astolfo (the name of the character who deceives Rosaura in our play), also rides the hippogriff and witnesses a prophecy of the return of the mythical Golden Age. For Frederick de Armas, Rosaura hides a mythological mystery already utilized by Ariosto. When she goes to Court, she takes on the name of Astraea, the goddess of chastity and justice. Astraea was the last of the immortals to leave earth with the decline of the ages. Her return signals the return of a Golden Age. Many writers of the Renaissance and early modern periods used the figure of Astraea to praise the rulers of their times. It is possible that Rosaura (an anagram of auroras, "dawns") could represent the return of a Golden Age during the reign of Segismundo, a figure that represents King Philip IV of Spain.

Question: When Rosaura first appears she falls from what animal?
Answer: Horse/hippogriff
The Rosaura subplot has been subjected to much criticism in the past as not belonging to the work. MenĂŠndez y Pelayo saw it as a strange and exotic plot, like a parasitical vine. Rosaura has also been dismissed as the simple stock character of the jilted woman. With the British School of Calderonistas, this attitude changed. A. E. Sloman explained how the main and secondary actions are linked. Others like E. M. Wilson and William M. Whitby consider Rosaura to be central to the work since she parallels Segismundo's actions and also serves as Segismundo's guide, leading him to a final conversion. For some Rosaura must be studied as part of a Platonic ascent on the part of the Prince. Others compare her first appearance, falling from a horse/hippogriff to the plot of Ariosto's Orlando furioso where Astolfo (the name of the character who deceives Rosaura in our play), also rides the hippogriff and witnesses a prophecy of the return of the mythical Golden Age. For Frederick de Armas, Rosaura hides a mythological mystery already utilized by Ariosto. When she goes to Court, she takes on the name of Astraea, the goddess of chastity and justice. Astraea was the last of the immortals to leave earth with the decline of the ages. Her return signals the return of a Golden Age. Many writers of the Renaissance and early modern periods used the figure of Astraea to praise the rulers of their times. It is possible that Rosaura (an anagram of auroras, "dawns") could represent the return of a Golden Age during the reign of Segismundo, a figure that represents King Philip IV of Spain.

Question: Astolfo witnesses a prophecy of what?
Answer: The return of the Golden Age.
The Rosaura subplot has been subjected to much criticism in the past as not belonging to the work. MenĂŠndez y Pelayo saw it as a strange and exotic plot, like a parasitical vine. Rosaura has also been dismissed as the simple stock character of the jilted woman. With the British School of Calderonistas, this attitude changed. A. E. Sloman explained how the main and secondary actions are linked. Others like E. M. Wilson and William M. Whitby consider Rosaura to be central to the work since she parallels Segismundo's actions and also serves as Segismundo's guide, leading him to a final conversion. For some Rosaura must be studied as part of a Platonic ascent on the part of the Prince. Others compare her first appearance, falling from a horse/hippogriff to the plot of Ariosto's Orlando furioso where Astolfo (the name of the character who deceives Rosaura in our play), also rides the hippogriff and witnesses a prophecy of the return of the mythical Golden Age. For Frederick de Armas, Rosaura hides a mythological mystery already utilized by Ariosto. When she goes to Court, she takes on the name of Astraea, the goddess of chastity and justice. Astraea was the last of the immortals to leave earth with the decline of the ages. Her return signals the return of a Golden Age. Many writers of the Renaissance and early modern periods used the figure of Astraea to praise the rulers of their times. It is possible that Rosaura (an anagram of auroras, "dawns") could represent the return of a Golden Age during the reign of Segismundo, a figure that represents King Philip IV of Spain.

Question: What alias does Rosaura assume when she goes to court?
Answer: Astraea