YuITC/NarrativeQA-Dataset-Restructured huggingface dataset:
The story focuses on a family of anthropomorphic rabbits. The widowed mother rabbit cautions her young against entering the vegetable garden of a man named Mr McGregor, telling them: "your Father had an accident there; he was put in a pie by Mrs McGregor". Her three daughters obediently refrain from entering the garden, going down the lane to pick blackberries, but her rebellious son Peter enters the garden to snack on some vegetables. Peter ends up eating more than is good for him and goes looking for parsley to cure his stomach ache. Peter is spotted by Mr McGregor and loses his jacket and shoes while trying to escape. He hides in a watering can in a shed, but then has to run away again when Mr McGregor finds him, and ends up completely lost. After sneaking past a cat, Peter sees the gate where he entered the garden from a distance and heads for it, despite being spotted and chased by Mr McGregor again. With difficulty he wriggles under the gate, and escapes from the garden, but he spots his abandoned clothing being used to dress Mr McGregor's scarecrow. After returning home, a sick Peter is sent to bed by his mother, while his well-behaved sisters receive a sumptuous dinner of milk and berries as opposed to Peter's supper of chamomile tea.

Question: How would the mother rabbit describe her son, Peter?
Answer: Peter is rebellious.
The story focuses on a family of anthropomorphic rabbits. The widowed mother rabbit cautions her young against entering the vegetable garden of a man named Mr McGregor, telling them: "your Father had an accident there; he was put in a pie by Mrs McGregor". Her three daughters obediently refrain from entering the garden, going down the lane to pick blackberries, but her rebellious son Peter enters the garden to snack on some vegetables. Peter ends up eating more than is good for him and goes looking for parsley to cure his stomach ache. Peter is spotted by Mr McGregor and loses his jacket and shoes while trying to escape. He hides in a watering can in a shed, but then has to run away again when Mr McGregor finds him, and ends up completely lost. After sneaking past a cat, Peter sees the gate where he entered the garden from a distance and heads for it, despite being spotted and chased by Mr McGregor again. With difficulty he wriggles under the gate, and escapes from the garden, but he spots his abandoned clothing being used to dress Mr McGregor's scarecrow. After returning home, a sick Peter is sent to bed by his mother, while his well-behaved sisters receive a sumptuous dinner of milk and berries as opposed to Peter's supper of chamomile tea.

Question: Why does Peter enter Mr. McGregor's garden?
Answer: To snack on vegetables.
The story focuses on a family of anthropomorphic rabbits. The widowed mother rabbit cautions her young against entering the vegetable garden of a man named Mr McGregor, telling them: "your Father had an accident there; he was put in a pie by Mrs McGregor". Her three daughters obediently refrain from entering the garden, going down the lane to pick blackberries, but her rebellious son Peter enters the garden to snack on some vegetables. Peter ends up eating more than is good for him and goes looking for parsley to cure his stomach ache. Peter is spotted by Mr McGregor and loses his jacket and shoes while trying to escape. He hides in a watering can in a shed, but then has to run away again when Mr McGregor finds him, and ends up completely lost. After sneaking past a cat, Peter sees the gate where he entered the garden from a distance and heads for it, despite being spotted and chased by Mr McGregor again. With difficulty he wriggles under the gate, and escapes from the garden, but he spots his abandoned clothing being used to dress Mr McGregor's scarecrow. After returning home, a sick Peter is sent to bed by his mother, while his well-behaved sisters receive a sumptuous dinner of milk and berries as opposed to Peter's supper of chamomile tea.

Question: What is parsley good for?
Answer: Cures a stomach ache.
The story focuses on a family of anthropomorphic rabbits. The widowed mother rabbit cautions her young against entering the vegetable garden of a man named Mr McGregor, telling them: "your Father had an accident there; he was put in a pie by Mrs McGregor". Her three daughters obediently refrain from entering the garden, going down the lane to pick blackberries, but her rebellious son Peter enters the garden to snack on some vegetables. Peter ends up eating more than is good for him and goes looking for parsley to cure his stomach ache. Peter is spotted by Mr McGregor and loses his jacket and shoes while trying to escape. He hides in a watering can in a shed, but then has to run away again when Mr McGregor finds him, and ends up completely lost. After sneaking past a cat, Peter sees the gate where he entered the garden from a distance and heads for it, despite being spotted and chased by Mr McGregor again. With difficulty he wriggles under the gate, and escapes from the garden, but he spots his abandoned clothing being used to dress Mr McGregor's scarecrow. After returning home, a sick Peter is sent to bed by his mother, while his well-behaved sisters receive a sumptuous dinner of milk and berries as opposed to Peter's supper of chamomile tea.

Question: What items does Peter lose in Mr. McGregor's garden?
Answer: His jacket and shoes.
The story focuses on a family of anthropomorphic rabbits. The widowed mother rabbit cautions her young against entering the vegetable garden of a man named Mr McGregor, telling them: "your Father had an accident there; he was put in a pie by Mrs McGregor". Her three daughters obediently refrain from entering the garden, going down the lane to pick blackberries, but her rebellious son Peter enters the garden to snack on some vegetables. Peter ends up eating more than is good for him and goes looking for parsley to cure his stomach ache. Peter is spotted by Mr McGregor and loses his jacket and shoes while trying to escape. He hides in a watering can in a shed, but then has to run away again when Mr McGregor finds him, and ends up completely lost. After sneaking past a cat, Peter sees the gate where he entered the garden from a distance and heads for it, despite being spotted and chased by Mr McGregor again. With difficulty he wriggles under the gate, and escapes from the garden, but he spots his abandoned clothing being used to dress Mr McGregor's scarecrow. After returning home, a sick Peter is sent to bed by his mother, while his well-behaved sisters receive a sumptuous dinner of milk and berries as opposed to Peter's supper of chamomile tea.

Question: Where does most of the story take place?
Answer: In Mr. McGregor's garden.
The story focuses on a family of anthropomorphic rabbits. The widowed mother rabbit cautions her young against entering the vegetable garden of a man named Mr McGregor, telling them: "your Father had an accident there; he was put in a pie by Mrs McGregor". Her three daughters obediently refrain from entering the garden, going down the lane to pick blackberries, but her rebellious son Peter enters the garden to snack on some vegetables. Peter ends up eating more than is good for him and goes looking for parsley to cure his stomach ache. Peter is spotted by Mr McGregor and loses his jacket and shoes while trying to escape. He hides in a watering can in a shed, but then has to run away again when Mr McGregor finds him, and ends up completely lost. After sneaking past a cat, Peter sees the gate where he entered the garden from a distance and heads for it, despite being spotted and chased by Mr McGregor again. With difficulty he wriggles under the gate, and escapes from the garden, but he spots his abandoned clothing being used to dress Mr McGregor's scarecrow. After returning home, a sick Peter is sent to bed by his mother, while his well-behaved sisters receive a sumptuous dinner of milk and berries as opposed to Peter's supper of chamomile tea.

Question: How many daughters does the widowed mother rabbit have?
Answer: She has three daughters.
The story focuses on a family of anthropomorphic rabbits. The widowed mother rabbit cautions her young against entering the vegetable garden of a man named Mr McGregor, telling them: "your Father had an accident there; he was put in a pie by Mrs McGregor". Her three daughters obediently refrain from entering the garden, going down the lane to pick blackberries, but her rebellious son Peter enters the garden to snack on some vegetables. Peter ends up eating more than is good for him and goes looking for parsley to cure his stomach ache. Peter is spotted by Mr McGregor and loses his jacket and shoes while trying to escape. He hides in a watering can in a shed, but then has to run away again when Mr McGregor finds him, and ends up completely lost. After sneaking past a cat, Peter sees the gate where he entered the garden from a distance and heads for it, despite being spotted and chased by Mr McGregor again. With difficulty he wriggles under the gate, and escapes from the garden, but he spots his abandoned clothing being used to dress Mr McGregor's scarecrow. After returning home, a sick Peter is sent to bed by his mother, while his well-behaved sisters receive a sumptuous dinner of milk and berries as opposed to Peter's supper of chamomile tea.

Question: What happened to Peter's father?
Answer: He was made into a pie.
The story focuses on a family of anthropomorphic rabbits. The widowed mother rabbit cautions her young against entering the vegetable garden of a man named Mr McGregor, telling them: "your Father had an accident there; he was put in a pie by Mrs McGregor". Her three daughters obediently refrain from entering the garden, going down the lane to pick blackberries, but her rebellious son Peter enters the garden to snack on some vegetables. Peter ends up eating more than is good for him and goes looking for parsley to cure his stomach ache. Peter is spotted by Mr McGregor and loses his jacket and shoes while trying to escape. He hides in a watering can in a shed, but then has to run away again when Mr McGregor finds him, and ends up completely lost. After sneaking past a cat, Peter sees the gate where he entered the garden from a distance and heads for it, despite being spotted and chased by Mr McGregor again. With difficulty he wriggles under the gate, and escapes from the garden, but he spots his abandoned clothing being used to dress Mr McGregor's scarecrow. After returning home, a sick Peter is sent to bed by his mother, while his well-behaved sisters receive a sumptuous dinner of milk and berries as opposed to Peter's supper of chamomile tea.

Question: What does Peter have for supper?
Answer: He has chamomile tea.
The story focuses on a family of anthropomorphic rabbits. The widowed mother rabbit cautions her young against entering the vegetable garden of a man named Mr McGregor, telling them: "your Father had an accident there; he was put in a pie by Mrs McGregor". Her three daughters obediently refrain from entering the garden, going down the lane to pick blackberries, but her rebellious son Peter enters the garden to snack on some vegetables. Peter ends up eating more than is good for him and goes looking for parsley to cure his stomach ache. Peter is spotted by Mr McGregor and loses his jacket and shoes while trying to escape. He hides in a watering can in a shed, but then has to run away again when Mr McGregor finds him, and ends up completely lost. After sneaking past a cat, Peter sees the gate where he entered the garden from a distance and heads for it, despite being spotted and chased by Mr McGregor again. With difficulty he wriggles under the gate, and escapes from the garden, but he spots his abandoned clothing being used to dress Mr McGregor's scarecrow. After returning home, a sick Peter is sent to bed by his mother, while his well-behaved sisters receive a sumptuous dinner of milk and berries as opposed to Peter's supper of chamomile tea.

Question: What do Peter's three sisters have for supper?
Answer: They have milk and berries.
The story focuses on a family of anthropomorphic rabbits. The widowed mother rabbit cautions her young against entering the vegetable garden of a man named Mr McGregor, telling them: "your Father had an accident there; he was put in a pie by Mrs McGregor". Her three daughters obediently refrain from entering the garden, going down the lane to pick blackberries, but her rebellious son Peter enters the garden to snack on some vegetables. Peter ends up eating more than is good for him and goes looking for parsley to cure his stomach ache. Peter is spotted by Mr McGregor and loses his jacket and shoes while trying to escape. He hides in a watering can in a shed, but then has to run away again when Mr McGregor finds him, and ends up completely lost. After sneaking past a cat, Peter sees the gate where he entered the garden from a distance and heads for it, despite being spotted and chased by Mr McGregor again. With difficulty he wriggles under the gate, and escapes from the garden, but he spots his abandoned clothing being used to dress Mr McGregor's scarecrow. After returning home, a sick Peter is sent to bed by his mother, while his well-behaved sisters receive a sumptuous dinner of milk and berries as opposed to Peter's supper of chamomile tea.

Question: What warning does the mother rabbit give her children?
Answer: Not to enter Mr. McGregor's garden.
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is nowâa mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."

Question: According to the confessor what two things mingle in fraternity?
Answer: Perfumed vice and artistic endeavor
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is nowâa mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."

Question: Which French names does the confessor feel are bound up in the theories he studies?
Answer: Flaubert, Goncourts, Zola, Degas, and Manet
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is nowâa mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."

Question: What did the confessor believe in the grammar of?
Answer: The grammar of art
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is nowâa mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."

Question: What does the confessor admit courageously to concerning his career towards the end?
Answer: That his efforts to be a painter had been misdirected.
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is nowâa mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."

Question: What are enticements of the flesh not more powerful than?
Answer: The enticement of art
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is nowâa mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."

Question: Where does the confessor go at the end of the story?
Answer: London, to a lodging on the Strand
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is nowâa mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."

Question: What does the confessor strive to be?
Answer: A painter.
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is nowâa mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."

Question: Where did the confessor go as a teenager?
Answer: Paris, France
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is nowâa mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."

Question: What does the confessor nearly forget after 15 years?
Answer: The English language
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is nowâa mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."

Question: Who is the confessor of the story?
Answer: Dayne
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is nowâa mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."

Question: What country did Dayne move to as a teenager?
Answer: Paris
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is nowâa mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."

Question: What does Dayne learn he is not destined to be?
Answer: A painter
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is nowâa mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."

Question: What language does Dayne almost forget after 15 years?
Answer: English
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is nowâa mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."

Question: Where does Dayne lodge in London?
Answer: In the Strand
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is nowâa mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."

Question: What captivates Dayne in particular about Paris in the beginning?
Answer: It is the perfect place for a young man who loves art
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is nowâa mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."

Question: Where does Dayne relocate to after Paris?
Answer: London