gaussalgo/Canard_Wiki-augmented huggingface dataset:
Virginia Woolf

Context: Leslie Stephen was in the habit of hiking in Cornwall, and in the spring of 1881 he came across a large white house in St. Ives, Cornwall, and took out a lease on it that September. Although it had limited amenities, its main attraction was the view overlooking Porthminster Bay towards the Godrevy Lighthouse, which the young Virginia could see from the upper windows and was to be the central figure in her To the Lighthouse (1927). It was a large square house, with a terraced garden, divided by hedges, sloping down towards the sea. Each year between 1882 and 1894 from mid-July to mid-September the Stephen's leased Talland House as a summer residence. Leslie Stephen, who referred to it thus: "a pocket-paradise", described it as "The pleasantest of my memories... refer to our summers, all of which were passed in Cornwall, especially to the thirteen summers (1882-1894) at St. Ives. There we bought the lease of Talland House: a small but roomy house, with a garden of an acre or two all up and down hill, with quaint little terraces divided by hedges of escallonia, a grape-house and kitchen-garden and a so-called 'orchard' beyond". It was in Leslie's words, a place of "intense domestic happiness". Virginia herself described the house in great detail:  In both London and Cornwall, Julia was perpetually entertaining, and was notorious for her manipulation of her guests' lives, constantly matchmaking in the belief everyone should be married, the domestic equivalence of her philanthropy. As her husband observed "My Julia was of course, though with all due reserve, a bit of a matchmaker". While Cornwall was supposed to be a summer respite, Julia Stephen soon immersed herself in the work of caring for the sick and poor there, as well as in London. Both at Hyde Park Gate and Talland House, the family mingled with much of the country's literary and artistic circles. Frequent guests included literary figures such as Henry James and George Meredith, as well as James Russell Lowell, and the children were exposed to much more intellectual conversations than their mother's at Little Holland House. The family did not return, following Julia Stephen's death in May 1895.  For the children it was the highlight of the year, and Virginia's most vivid childhood memories were not of London but of Cornwall. In a diary entry of 22 March 1921, she described why she felt so connected to Talland House, looking back to a summer day in August 1890. "Why am I so incredibly and incurably romantic about Cornwall? One's past, I suppose; I see children running in the garden ... The sound of the sea at night ... almost forty years of life, all built on that, permeated by that: so much I could never explain". Cornwall inspired aspects of her work, in particular the "St Ives Trilogy" of Jacob's Room (1922), To the Lighthouse (1927), and The Waves (1931). CANNOTANSWER

Question: Who did Virginia Woolf's family mingle with?
Answer: the family mingled with much of the country's literary and artistic circles. Frequent guests included
Virginia Woolf

Context: Leslie Stephen was in the habit of hiking in Cornwall, and in the spring of 1881 he came across a large white house in St. Ives, Cornwall, and took out a lease on it that September. Although it had limited amenities, its main attraction was the view overlooking Porthminster Bay towards the Godrevy Lighthouse, which the young Virginia could see from the upper windows and was to be the central figure in her To the Lighthouse (1927). It was a large square house, with a terraced garden, divided by hedges, sloping down towards the sea. Each year between 1882 and 1894 from mid-July to mid-September the Stephen's leased Talland House as a summer residence. Leslie Stephen, who referred to it thus: "a pocket-paradise", described it as "The pleasantest of my memories... refer to our summers, all of which were passed in Cornwall, especially to the thirteen summers (1882-1894) at St. Ives. There we bought the lease of Talland House: a small but roomy house, with a garden of an acre or two all up and down hill, with quaint little terraces divided by hedges of escallonia, a grape-house and kitchen-garden and a so-called 'orchard' beyond". It was in Leslie's words, a place of "intense domestic happiness". Virginia herself described the house in great detail:  In both London and Cornwall, Julia was perpetually entertaining, and was notorious for her manipulation of her guests' lives, constantly matchmaking in the belief everyone should be married, the domestic equivalence of her philanthropy. As her husband observed "My Julia was of course, though with all due reserve, a bit of a matchmaker". While Cornwall was supposed to be a summer respite, Julia Stephen soon immersed herself in the work of caring for the sick and poor there, as well as in London. Both at Hyde Park Gate and Talland House, the family mingled with much of the country's literary and artistic circles. Frequent guests included literary figures such as Henry James and George Meredith, as well as James Russell Lowell, and the children were exposed to much more intellectual conversations than their mother's at Little Holland House. The family did not return, following Julia Stephen's death in May 1895.  For the children it was the highlight of the year, and Virginia's most vivid childhood memories were not of London but of Cornwall. In a diary entry of 22 March 1921, she described why she felt so connected to Talland House, looking back to a summer day in August 1890. "Why am I so incredibly and incurably romantic about Cornwall? One's past, I suppose; I see children running in the garden ... The sound of the sea at night ... almost forty years of life, all built on that, permeated by that: so much I could never explain". Cornwall inspired aspects of her work, in particular the "St Ives Trilogy" of Jacob's Room (1922), To the Lighthouse (1927), and The Waves (1931). CANNOTANSWER

Question: Besides mingling with much of the country's literary and artistic circles are there any other interesting aspects about this article?
Answer: In both London and Cornwall, Julia was perpetually entertaining, and was notorious for her manipulation of her guests' lives,
Virginia Woolf

Context: Leslie Stephen was in the habit of hiking in Cornwall, and in the spring of 1881 he came across a large white house in St. Ives, Cornwall, and took out a lease on it that September. Although it had limited amenities, its main attraction was the view overlooking Porthminster Bay towards the Godrevy Lighthouse, which the young Virginia could see from the upper windows and was to be the central figure in her To the Lighthouse (1927). It was a large square house, with a terraced garden, divided by hedges, sloping down towards the sea. Each year between 1882 and 1894 from mid-July to mid-September the Stephen's leased Talland House as a summer residence. Leslie Stephen, who referred to it thus: "a pocket-paradise", described it as "The pleasantest of my memories... refer to our summers, all of which were passed in Cornwall, especially to the thirteen summers (1882-1894) at St. Ives. There we bought the lease of Talland House: a small but roomy house, with a garden of an acre or two all up and down hill, with quaint little terraces divided by hedges of escallonia, a grape-house and kitchen-garden and a so-called 'orchard' beyond". It was in Leslie's words, a place of "intense domestic happiness". Virginia herself described the house in great detail:  In both London and Cornwall, Julia was perpetually entertaining, and was notorious for her manipulation of her guests' lives, constantly matchmaking in the belief everyone should be married, the domestic equivalence of her philanthropy. As her husband observed "My Julia was of course, though with all due reserve, a bit of a matchmaker". While Cornwall was supposed to be a summer respite, Julia Stephen soon immersed herself in the work of caring for the sick and poor there, as well as in London. Both at Hyde Park Gate and Talland House, the family mingled with much of the country's literary and artistic circles. Frequent guests included literary figures such as Henry James and George Meredith, as well as James Russell Lowell, and the children were exposed to much more intellectual conversations than their mother's at Little Holland House. The family did not return, following Julia Stephen's death in May 1895.  For the children it was the highlight of the year, and Virginia's most vivid childhood memories were not of London but of Cornwall. In a diary entry of 22 March 1921, she described why she felt so connected to Talland House, looking back to a summer day in August 1890. "Why am I so incredibly and incurably romantic about Cornwall? One's past, I suppose; I see children running in the garden ... The sound of the sea at night ... almost forty years of life, all built on that, permeated by that: so much I could never explain". Cornwall inspired aspects of her work, in particular the "St Ives Trilogy" of Jacob's Room (1922), To the Lighthouse (1927), and The Waves (1931). CANNOTANSWER

Question: Did the Woolf family entertain anyone famous?
Answer: Frequent guests included literary figures such as Henry James and George Meredith, as well as James Russell Lowell, and the children were exposed to
Virginia Woolf

Context: Leslie Stephen was in the habit of hiking in Cornwall, and in the spring of 1881 he came across a large white house in St. Ives, Cornwall, and took out a lease on it that September. Although it had limited amenities, its main attraction was the view overlooking Porthminster Bay towards the Godrevy Lighthouse, which the young Virginia could see from the upper windows and was to be the central figure in her To the Lighthouse (1927). It was a large square house, with a terraced garden, divided by hedges, sloping down towards the sea. Each year between 1882 and 1894 from mid-July to mid-September the Stephen's leased Talland House as a summer residence. Leslie Stephen, who referred to it thus: "a pocket-paradise", described it as "The pleasantest of my memories... refer to our summers, all of which were passed in Cornwall, especially to the thirteen summers (1882-1894) at St. Ives. There we bought the lease of Talland House: a small but roomy house, with a garden of an acre or two all up and down hill, with quaint little terraces divided by hedges of escallonia, a grape-house and kitchen-garden and a so-called 'orchard' beyond". It was in Leslie's words, a place of "intense domestic happiness". Virginia herself described the house in great detail:  In both London and Cornwall, Julia was perpetually entertaining, and was notorious for her manipulation of her guests' lives, constantly matchmaking in the belief everyone should be married, the domestic equivalence of her philanthropy. As her husband observed "My Julia was of course, though with all due reserve, a bit of a matchmaker". While Cornwall was supposed to be a summer respite, Julia Stephen soon immersed herself in the work of caring for the sick and poor there, as well as in London. Both at Hyde Park Gate and Talland House, the family mingled with much of the country's literary and artistic circles. Frequent guests included literary figures such as Henry James and George Meredith, as well as James Russell Lowell, and the children were exposed to much more intellectual conversations than their mother's at Little Holland House. The family did not return, following Julia Stephen's death in May 1895.  For the children it was the highlight of the year, and Virginia's most vivid childhood memories were not of London but of Cornwall. In a diary entry of 22 March 1921, she described why she felt so connected to Talland House, looking back to a summer day in August 1890. "Why am I so incredibly and incurably romantic about Cornwall? One's past, I suppose; I see children running in the garden ... The sound of the sea at night ... almost forty years of life, all built on that, permeated by that: so much I could never explain". Cornwall inspired aspects of her work, in particular the "St Ives Trilogy" of Jacob's Room (1922), To the Lighthouse (1927), and The Waves (1931). CANNOTANSWER

Question: What were the children in the Woolf family exposed to?
Answer: and the children were exposed to much more intellectual conversations than their mother's at
Virginia Woolf

Context: Leslie Stephen was in the habit of hiking in Cornwall, and in the spring of 1881 he came across a large white house in St. Ives, Cornwall, and took out a lease on it that September. Although it had limited amenities, its main attraction was the view overlooking Porthminster Bay towards the Godrevy Lighthouse, which the young Virginia could see from the upper windows and was to be the central figure in her To the Lighthouse (1927). It was a large square house, with a terraced garden, divided by hedges, sloping down towards the sea. Each year between 1882 and 1894 from mid-July to mid-September the Stephen's leased Talland House as a summer residence. Leslie Stephen, who referred to it thus: "a pocket-paradise", described it as "The pleasantest of my memories... refer to our summers, all of which were passed in Cornwall, especially to the thirteen summers (1882-1894) at St. Ives. There we bought the lease of Talland House: a small but roomy house, with a garden of an acre or two all up and down hill, with quaint little terraces divided by hedges of escallonia, a grape-house and kitchen-garden and a so-called 'orchard' beyond". It was in Leslie's words, a place of "intense domestic happiness". Virginia herself described the house in great detail:  In both London and Cornwall, Julia was perpetually entertaining, and was notorious for her manipulation of her guests' lives, constantly matchmaking in the belief everyone should be married, the domestic equivalence of her philanthropy. As her husband observed "My Julia was of course, though with all due reserve, a bit of a matchmaker". While Cornwall was supposed to be a summer respite, Julia Stephen soon immersed herself in the work of caring for the sick and poor there, as well as in London. Both at Hyde Park Gate and Talland House, the family mingled with much of the country's literary and artistic circles. Frequent guests included literary figures such as Henry James and George Meredith, as well as James Russell Lowell, and the children were exposed to much more intellectual conversations than their mother's at Little Holland House. The family did not return, following Julia Stephen's death in May 1895.  For the children it was the highlight of the year, and Virginia's most vivid childhood memories were not of London but of Cornwall. In a diary entry of 22 March 1921, she described why she felt so connected to Talland House, looking back to a summer day in August 1890. "Why am I so incredibly and incurably romantic about Cornwall? One's past, I suppose; I see children running in the garden ... The sound of the sea at night ... almost forty years of life, all built on that, permeated by that: so much I could never explain". Cornwall inspired aspects of her work, in particular the "St Ives Trilogy" of Jacob's Room (1922), To the Lighthouse (1927), and The Waves (1931). CANNOTANSWER

Question: When did Virginia Woolf move out of Talland House?
Answer: The family did not return, following Julia Stephen's death in May 1895.
Rabindranath Tagore

Context: Dutta and Robinson describe this phase of Tagore's life as being one of a "peripatetic litterateur". It affirmed his opinion that human divisions were shallow. During a May 1932 visit to a Bedouin encampment in the Iraqi desert, the tribal chief told him that "Our prophet has said that a true Muslim is he by whose words and deeds not the least of his brother-men may ever come to any harm ..." Tagore confided in his diary: "I was startled into recognizing in his words the voice of essential humanity." To the end Tagore scrutinised orthodoxy--and in 1934, he struck. That year, an earthquake hit Bihar and killed thousands. Gandhi hailed it as seismic karma, as divine retribution avenging the oppression of Dalits. Tagore rebuked him for his seemingly ignominious implications. He mourned the perennial poverty of Calcutta and the socioeconomic decline of Bengal, and detailed these newly plebeian aesthetics in an unrhymed hundred-line poem whose technique of searing double-vision foreshadowed Satyajit Ray's film Apur Sansar. Fifteen new volumes appeared, among them prose-poem works Punashcha (1932), Shes Saptak (1935), and Patraput (1936). Experimentation continued in his prose-songs and dance-dramas-- Chitra (1914), Shyama (1939), and Chandalika (1938)-- and in his novels-- Dui Bon (1933), Malancha (1934), and Char Adhyay (1934).  Tagore's remit expanded to science in his last years, as hinted in Visva-Parichay, a 1937 collection of essays. His respect for scientific laws and his exploration of biology, physics, and astronomy informed his poetry, which exhibited extensive naturalism and verisimilitude. He wove the process of science, the narratives of scientists, into stories in Se (1937), Tin Sangi (1940), and Galpasalpa (1941). His last five years were marked by chronic pain and two long periods of illness. These began when Tagore lost consciousness in late 1937; he remained comatose and near death for a time. This was followed in late 1940 by a similar spell, from which he never recovered. Poetry from these valetudinary years is among his finest. A period of prolonged agony ended with Tagore's death on 7 August 1941, aged eighty; he was in an upstairs room of the Jorasanko mansion he was raised in. The date is still mourned. A. K. Sen, brother of the first chief election commissioner, received dictation from Tagore on 30 July 1941, a day prior to a scheduled operation: his last poem.  I'm lost in the middle of my birthday. I want my friends, their touch, with the earth's last love. I will take life's final offering, I will take the human's last blessing. Today my sack is empty. I have given completely whatever I had to give. In return if I receive anything--some love, some forgiveness--then I will take it with me when I step on the boat that crosses to the festival of the wordless end. CANNOTANSWER

Question: What happened to Rabindranath Tagore during the twilight years?
Answer: Fifteen new volumes appeared, among them prose-poem works Punashcha (1932), Shes Saptak (1935), and Patraput (1936).
Rabindranath Tagore

Context: Dutta and Robinson describe this phase of Tagore's life as being one of a "peripatetic litterateur". It affirmed his opinion that human divisions were shallow. During a May 1932 visit to a Bedouin encampment in the Iraqi desert, the tribal chief told him that "Our prophet has said that a true Muslim is he by whose words and deeds not the least of his brother-men may ever come to any harm ..." Tagore confided in his diary: "I was startled into recognizing in his words the voice of essential humanity." To the end Tagore scrutinised orthodoxy--and in 1934, he struck. That year, an earthquake hit Bihar and killed thousands. Gandhi hailed it as seismic karma, as divine retribution avenging the oppression of Dalits. Tagore rebuked him for his seemingly ignominious implications. He mourned the perennial poverty of Calcutta and the socioeconomic decline of Bengal, and detailed these newly plebeian aesthetics in an unrhymed hundred-line poem whose technique of searing double-vision foreshadowed Satyajit Ray's film Apur Sansar. Fifteen new volumes appeared, among them prose-poem works Punashcha (1932), Shes Saptak (1935), and Patraput (1936). Experimentation continued in his prose-songs and dance-dramas-- Chitra (1914), Shyama (1939), and Chandalika (1938)-- and in his novels-- Dui Bon (1933), Malancha (1934), and Char Adhyay (1934).  Tagore's remit expanded to science in his last years, as hinted in Visva-Parichay, a 1937 collection of essays. His respect for scientific laws and his exploration of biology, physics, and astronomy informed his poetry, which exhibited extensive naturalism and verisimilitude. He wove the process of science, the narratives of scientists, into stories in Se (1937), Tin Sangi (1940), and Galpasalpa (1941). His last five years were marked by chronic pain and two long periods of illness. These began when Tagore lost consciousness in late 1937; he remained comatose and near death for a time. This was followed in late 1940 by a similar spell, from which he never recovered. Poetry from these valetudinary years is among his finest. A period of prolonged agony ended with Tagore's death on 7 August 1941, aged eighty; he was in an upstairs room of the Jorasanko mansion he was raised in. The date is still mourned. A. K. Sen, brother of the first chief election commissioner, received dictation from Tagore on 30 July 1941, a day prior to a scheduled operation: his last poem.  I'm lost in the middle of my birthday. I want my friends, their touch, with the earth's last love. I will take life's final offering, I will take the human's last blessing. Today my sack is empty. I have given completely whatever I had to give. In return if I receive anything--some love, some forgiveness--then I will take it with me when I step on the boat that crosses to the festival of the wordless end. CANNOTANSWER

Question: Which names are worth mentioning as a contribution to the twilight years of Rabindranath Tagore's life?
Answer: earthquake hit Bihar and killed thousands. Gandhi hailed it as seismic karma, as divine retribution avenging the oppression of Dalits. Tagore rebuked him
Rabindranath Tagore

Context: Dutta and Robinson describe this phase of Tagore's life as being one of a "peripatetic litterateur". It affirmed his opinion that human divisions were shallow. During a May 1932 visit to a Bedouin encampment in the Iraqi desert, the tribal chief told him that "Our prophet has said that a true Muslim is he by whose words and deeds not the least of his brother-men may ever come to any harm ..." Tagore confided in his diary: "I was startled into recognizing in his words the voice of essential humanity." To the end Tagore scrutinised orthodoxy--and in 1934, he struck. That year, an earthquake hit Bihar and killed thousands. Gandhi hailed it as seismic karma, as divine retribution avenging the oppression of Dalits. Tagore rebuked him for his seemingly ignominious implications. He mourned the perennial poverty of Calcutta and the socioeconomic decline of Bengal, and detailed these newly plebeian aesthetics in an unrhymed hundred-line poem whose technique of searing double-vision foreshadowed Satyajit Ray's film Apur Sansar. Fifteen new volumes appeared, among them prose-poem works Punashcha (1932), Shes Saptak (1935), and Patraput (1936). Experimentation continued in his prose-songs and dance-dramas-- Chitra (1914), Shyama (1939), and Chandalika (1938)-- and in his novels-- Dui Bon (1933), Malancha (1934), and Char Adhyay (1934).  Tagore's remit expanded to science in his last years, as hinted in Visva-Parichay, a 1937 collection of essays. His respect for scientific laws and his exploration of biology, physics, and astronomy informed his poetry, which exhibited extensive naturalism and verisimilitude. He wove the process of science, the narratives of scientists, into stories in Se (1937), Tin Sangi (1940), and Galpasalpa (1941). His last five years were marked by chronic pain and two long periods of illness. These began when Tagore lost consciousness in late 1937; he remained comatose and near death for a time. This was followed in late 1940 by a similar spell, from which he never recovered. Poetry from these valetudinary years is among his finest. A period of prolonged agony ended with Tagore's death on 7 August 1941, aged eighty; he was in an upstairs room of the Jorasanko mansion he was raised in. The date is still mourned. A. K. Sen, brother of the first chief election commissioner, received dictation from Tagore on 30 July 1941, a day prior to a scheduled operation: his last poem.  I'm lost in the middle of my birthday. I want my friends, their touch, with the earth's last love. I will take life's final offering, I will take the human's last blessing. Today my sack is empty. I have given completely whatever I had to give. In return if I receive anything--some love, some forgiveness--then I will take it with me when I step on the boat that crosses to the festival of the wordless end. CANNOTANSWER

Question: Are there any other interesting aspects about this article Rabindranath Tagore, Twilight years:1932-1941 in addition to rebuking Ghandi?
Answer: Tagore's remit expanded to science in his last years, as hinted in Visva-Parichay, a 1937 collection of essays.
Rabindranath Tagore

Context: Dutta and Robinson describe this phase of Tagore's life as being one of a "peripatetic litterateur". It affirmed his opinion that human divisions were shallow. During a May 1932 visit to a Bedouin encampment in the Iraqi desert, the tribal chief told him that "Our prophet has said that a true Muslim is he by whose words and deeds not the least of his brother-men may ever come to any harm ..." Tagore confided in his diary: "I was startled into recognizing in his words the voice of essential humanity." To the end Tagore scrutinised orthodoxy--and in 1934, he struck. That year, an earthquake hit Bihar and killed thousands. Gandhi hailed it as seismic karma, as divine retribution avenging the oppression of Dalits. Tagore rebuked him for his seemingly ignominious implications. He mourned the perennial poverty of Calcutta and the socioeconomic decline of Bengal, and detailed these newly plebeian aesthetics in an unrhymed hundred-line poem whose technique of searing double-vision foreshadowed Satyajit Ray's film Apur Sansar. Fifteen new volumes appeared, among them prose-poem works Punashcha (1932), Shes Saptak (1935), and Patraput (1936). Experimentation continued in his prose-songs and dance-dramas-- Chitra (1914), Shyama (1939), and Chandalika (1938)-- and in his novels-- Dui Bon (1933), Malancha (1934), and Char Adhyay (1934).  Tagore's remit expanded to science in his last years, as hinted in Visva-Parichay, a 1937 collection of essays. His respect for scientific laws and his exploration of biology, physics, and astronomy informed his poetry, which exhibited extensive naturalism and verisimilitude. He wove the process of science, the narratives of scientists, into stories in Se (1937), Tin Sangi (1940), and Galpasalpa (1941). His last five years were marked by chronic pain and two long periods of illness. These began when Tagore lost consciousness in late 1937; he remained comatose and near death for a time. This was followed in late 1940 by a similar spell, from which he never recovered. Poetry from these valetudinary years is among his finest. A period of prolonged agony ended with Tagore's death on 7 August 1941, aged eighty; he was in an upstairs room of the Jorasanko mansion he was raised in. The date is still mourned. A. K. Sen, brother of the first chief election commissioner, received dictation from Tagore on 30 July 1941, a day prior to a scheduled operation: his last poem.  I'm lost in the middle of my birthday. I want my friends, their touch, with the earth's last love. I will take life's final offering, I will take the human's last blessing. Today my sack is empty. I have given completely whatever I had to give. In return if I receive anything--some love, some forgiveness--then I will take it with me when I step on the boat that crosses to the festival of the wordless end. CANNOTANSWER

Question: Did Rabindranath Tagore win any award or recognition?
Answer: CANNOTANSWER
Rabindranath Tagore

Context: Dutta and Robinson describe this phase of Tagore's life as being one of a "peripatetic litterateur". It affirmed his opinion that human divisions were shallow. During a May 1932 visit to a Bedouin encampment in the Iraqi desert, the tribal chief told him that "Our prophet has said that a true Muslim is he by whose words and deeds not the least of his brother-men may ever come to any harm ..." Tagore confided in his diary: "I was startled into recognizing in his words the voice of essential humanity." To the end Tagore scrutinised orthodoxy--and in 1934, he struck. That year, an earthquake hit Bihar and killed thousands. Gandhi hailed it as seismic karma, as divine retribution avenging the oppression of Dalits. Tagore rebuked him for his seemingly ignominious implications. He mourned the perennial poverty of Calcutta and the socioeconomic decline of Bengal, and detailed these newly plebeian aesthetics in an unrhymed hundred-line poem whose technique of searing double-vision foreshadowed Satyajit Ray's film Apur Sansar. Fifteen new volumes appeared, among them prose-poem works Punashcha (1932), Shes Saptak (1935), and Patraput (1936). Experimentation continued in his prose-songs and dance-dramas-- Chitra (1914), Shyama (1939), and Chandalika (1938)-- and in his novels-- Dui Bon (1933), Malancha (1934), and Char Adhyay (1934).  Tagore's remit expanded to science in his last years, as hinted in Visva-Parichay, a 1937 collection of essays. His respect for scientific laws and his exploration of biology, physics, and astronomy informed his poetry, which exhibited extensive naturalism and verisimilitude. He wove the process of science, the narratives of scientists, into stories in Se (1937), Tin Sangi (1940), and Galpasalpa (1941). His last five years were marked by chronic pain and two long periods of illness. These began when Tagore lost consciousness in late 1937; he remained comatose and near death for a time. This was followed in late 1940 by a similar spell, from which he never recovered. Poetry from these valetudinary years is among his finest. A period of prolonged agony ended with Tagore's death on 7 August 1941, aged eighty; he was in an upstairs room of the Jorasanko mansion he was raised in. The date is still mourned. A. K. Sen, brother of the first chief election commissioner, received dictation from Tagore on 30 July 1941, a day prior to a scheduled operation: his last poem.  I'm lost in the middle of my birthday. I want my friends, their touch, with the earth's last love. I will take life's final offering, I will take the human's last blessing. Today my sack is empty. I have given completely whatever I had to give. In return if I receive anything--some love, some forgiveness--then I will take it with me when I step on the boat that crosses to the festival of the wordless end. CANNOTANSWER

Question: What are the major things that Rabindranath Tagor did in his last years?
Answer: He wove the process of science, the narratives of scientists, into stories in Se (1937), Tin Sangi (1940), and Galpasalpa (1941).
Rabindranath Tagore

Context: Dutta and Robinson describe this phase of Tagore's life as being one of a "peripatetic litterateur". It affirmed his opinion that human divisions were shallow. During a May 1932 visit to a Bedouin encampment in the Iraqi desert, the tribal chief told him that "Our prophet has said that a true Muslim is he by whose words and deeds not the least of his brother-men may ever come to any harm ..." Tagore confided in his diary: "I was startled into recognizing in his words the voice of essential humanity." To the end Tagore scrutinised orthodoxy--and in 1934, he struck. That year, an earthquake hit Bihar and killed thousands. Gandhi hailed it as seismic karma, as divine retribution avenging the oppression of Dalits. Tagore rebuked him for his seemingly ignominious implications. He mourned the perennial poverty of Calcutta and the socioeconomic decline of Bengal, and detailed these newly plebeian aesthetics in an unrhymed hundred-line poem whose technique of searing double-vision foreshadowed Satyajit Ray's film Apur Sansar. Fifteen new volumes appeared, among them prose-poem works Punashcha (1932), Shes Saptak (1935), and Patraput (1936). Experimentation continued in his prose-songs and dance-dramas-- Chitra (1914), Shyama (1939), and Chandalika (1938)-- and in his novels-- Dui Bon (1933), Malancha (1934), and Char Adhyay (1934).  Tagore's remit expanded to science in his last years, as hinted in Visva-Parichay, a 1937 collection of essays. His respect for scientific laws and his exploration of biology, physics, and astronomy informed his poetry, which exhibited extensive naturalism and verisimilitude. He wove the process of science, the narratives of scientists, into stories in Se (1937), Tin Sangi (1940), and Galpasalpa (1941). His last five years were marked by chronic pain and two long periods of illness. These began when Tagore lost consciousness in late 1937; he remained comatose and near death for a time. This was followed in late 1940 by a similar spell, from which he never recovered. Poetry from these valetudinary years is among his finest. A period of prolonged agony ended with Tagore's death on 7 August 1941, aged eighty; he was in an upstairs room of the Jorasanko mansion he was raised in. The date is still mourned. A. K. Sen, brother of the first chief election commissioner, received dictation from Tagore on 30 July 1941, a day prior to a scheduled operation: his last poem.  I'm lost in the middle of my birthday. I want my friends, their touch, with the earth's last love. I will take life's final offering, I will take the human's last blessing. Today my sack is empty. I have given completely whatever I had to give. In return if I receive anything--some love, some forgiveness--then I will take it with me when I step on the boat that crosses to the festival of the wordless end. CANNOTANSWER

Question: What did Rabindranath  Tagore do after 1941?
Answer: ). His last five years were marked by chronic pain and two long periods of illness.
Rabindranath Tagore

Context: Dutta and Robinson describe this phase of Tagore's life as being one of a "peripatetic litterateur". It affirmed his opinion that human divisions were shallow. During a May 1932 visit to a Bedouin encampment in the Iraqi desert, the tribal chief told him that "Our prophet has said that a true Muslim is he by whose words and deeds not the least of his brother-men may ever come to any harm ..." Tagore confided in his diary: "I was startled into recognizing in his words the voice of essential humanity." To the end Tagore scrutinised orthodoxy--and in 1934, he struck. That year, an earthquake hit Bihar and killed thousands. Gandhi hailed it as seismic karma, as divine retribution avenging the oppression of Dalits. Tagore rebuked him for his seemingly ignominious implications. He mourned the perennial poverty of Calcutta and the socioeconomic decline of Bengal, and detailed these newly plebeian aesthetics in an unrhymed hundred-line poem whose technique of searing double-vision foreshadowed Satyajit Ray's film Apur Sansar. Fifteen new volumes appeared, among them prose-poem works Punashcha (1932), Shes Saptak (1935), and Patraput (1936). Experimentation continued in his prose-songs and dance-dramas-- Chitra (1914), Shyama (1939), and Chandalika (1938)-- and in his novels-- Dui Bon (1933), Malancha (1934), and Char Adhyay (1934).  Tagore's remit expanded to science in his last years, as hinted in Visva-Parichay, a 1937 collection of essays. His respect for scientific laws and his exploration of biology, physics, and astronomy informed his poetry, which exhibited extensive naturalism and verisimilitude. He wove the process of science, the narratives of scientists, into stories in Se (1937), Tin Sangi (1940), and Galpasalpa (1941). His last five years were marked by chronic pain and two long periods of illness. These began when Tagore lost consciousness in late 1937; he remained comatose and near death for a time. This was followed in late 1940 by a similar spell, from which he never recovered. Poetry from these valetudinary years is among his finest. A period of prolonged agony ended with Tagore's death on 7 August 1941, aged eighty; he was in an upstairs room of the Jorasanko mansion he was raised in. The date is still mourned. A. K. Sen, brother of the first chief election commissioner, received dictation from Tagore on 30 July 1941, a day prior to a scheduled operation: his last poem.  I'm lost in the middle of my birthday. I want my friends, their touch, with the earth's last love. I will take life's final offering, I will take the human's last blessing. Today my sack is empty. I have given completely whatever I had to give. In return if I receive anything--some love, some forgiveness--then I will take it with me when I step on the boat that crosses to the festival of the wordless end. CANNOTANSWER

Question: Did Rabindranath Tagor eventually die?
Answer: A period of prolonged agony ended with Tagore's death on 7 August 1941, aged eighty;
Rabindranath Tagore

Context: Dutta and Robinson describe this phase of Tagore's life as being one of a "peripatetic litterateur". It affirmed his opinion that human divisions were shallow. During a May 1932 visit to a Bedouin encampment in the Iraqi desert, the tribal chief told him that "Our prophet has said that a true Muslim is he by whose words and deeds not the least of his brother-men may ever come to any harm ..." Tagore confided in his diary: "I was startled into recognizing in his words the voice of essential humanity." To the end Tagore scrutinised orthodoxy--and in 1934, he struck. That year, an earthquake hit Bihar and killed thousands. Gandhi hailed it as seismic karma, as divine retribution avenging the oppression of Dalits. Tagore rebuked him for his seemingly ignominious implications. He mourned the perennial poverty of Calcutta and the socioeconomic decline of Bengal, and detailed these newly plebeian aesthetics in an unrhymed hundred-line poem whose technique of searing double-vision foreshadowed Satyajit Ray's film Apur Sansar. Fifteen new volumes appeared, among them prose-poem works Punashcha (1932), Shes Saptak (1935), and Patraput (1936). Experimentation continued in his prose-songs and dance-dramas-- Chitra (1914), Shyama (1939), and Chandalika (1938)-- and in his novels-- Dui Bon (1933), Malancha (1934), and Char Adhyay (1934).  Tagore's remit expanded to science in his last years, as hinted in Visva-Parichay, a 1937 collection of essays. His respect for scientific laws and his exploration of biology, physics, and astronomy informed his poetry, which exhibited extensive naturalism and verisimilitude. He wove the process of science, the narratives of scientists, into stories in Se (1937), Tin Sangi (1940), and Galpasalpa (1941). His last five years were marked by chronic pain and two long periods of illness. These began when Tagore lost consciousness in late 1937; he remained comatose and near death for a time. This was followed in late 1940 by a similar spell, from which he never recovered. Poetry from these valetudinary years is among his finest. A period of prolonged agony ended with Tagore's death on 7 August 1941, aged eighty; he was in an upstairs room of the Jorasanko mansion he was raised in. The date is still mourned. A. K. Sen, brother of the first chief election commissioner, received dictation from Tagore on 30 July 1941, a day prior to a scheduled operation: his last poem.  I'm lost in the middle of my birthday. I want my friends, their touch, with the earth's last love. I will take life's final offering, I will take the human's last blessing. Today my sack is empty. I have given completely whatever I had to give. In return if I receive anything--some love, some forgiveness--then I will take it with me when I step on the boat that crosses to the festival of the wordless end. CANNOTANSWER

Question: What was Rabindranath Tagor's age when he died?
Answer: aged eighty;
Rabindranath Tagore

Context: Dutta and Robinson describe this phase of Tagore's life as being one of a "peripatetic litterateur". It affirmed his opinion that human divisions were shallow. During a May 1932 visit to a Bedouin encampment in the Iraqi desert, the tribal chief told him that "Our prophet has said that a true Muslim is he by whose words and deeds not the least of his brother-men may ever come to any harm ..." Tagore confided in his diary: "I was startled into recognizing in his words the voice of essential humanity." To the end Tagore scrutinised orthodoxy--and in 1934, he struck. That year, an earthquake hit Bihar and killed thousands. Gandhi hailed it as seismic karma, as divine retribution avenging the oppression of Dalits. Tagore rebuked him for his seemingly ignominious implications. He mourned the perennial poverty of Calcutta and the socioeconomic decline of Bengal, and detailed these newly plebeian aesthetics in an unrhymed hundred-line poem whose technique of searing double-vision foreshadowed Satyajit Ray's film Apur Sansar. Fifteen new volumes appeared, among them prose-poem works Punashcha (1932), Shes Saptak (1935), and Patraput (1936). Experimentation continued in his prose-songs and dance-dramas-- Chitra (1914), Shyama (1939), and Chandalika (1938)-- and in his novels-- Dui Bon (1933), Malancha (1934), and Char Adhyay (1934).  Tagore's remit expanded to science in his last years, as hinted in Visva-Parichay, a 1937 collection of essays. His respect for scientific laws and his exploration of biology, physics, and astronomy informed his poetry, which exhibited extensive naturalism and verisimilitude. He wove the process of science, the narratives of scientists, into stories in Se (1937), Tin Sangi (1940), and Galpasalpa (1941). His last five years were marked by chronic pain and two long periods of illness. These began when Tagore lost consciousness in late 1937; he remained comatose and near death for a time. This was followed in late 1940 by a similar spell, from which he never recovered. Poetry from these valetudinary years is among his finest. A period of prolonged agony ended with Tagore's death on 7 August 1941, aged eighty; he was in an upstairs room of the Jorasanko mansion he was raised in. The date is still mourned. A. K. Sen, brother of the first chief election commissioner, received dictation from Tagore on 30 July 1941, a day prior to a scheduled operation: his last poem.  I'm lost in the middle of my birthday. I want my friends, their touch, with the earth's last love. I will take life's final offering, I will take the human's last blessing. Today my sack is empty. I have given completely whatever I had to give. In return if I receive anything--some love, some forgiveness--then I will take it with me when I step on the boat that crosses to the festival of the wordless end. CANNOTANSWER

Question: Where did Rabindranath Tagor die?
Answer: he was in an upstairs room of the Jorasanko mansion he was raised in.
Rabindranath Tagore

Context: Dutta and Robinson describe this phase of Tagore's life as being one of a "peripatetic litterateur". It affirmed his opinion that human divisions were shallow. During a May 1932 visit to a Bedouin encampment in the Iraqi desert, the tribal chief told him that "Our prophet has said that a true Muslim is he by whose words and deeds not the least of his brother-men may ever come to any harm ..." Tagore confided in his diary: "I was startled into recognizing in his words the voice of essential humanity." To the end Tagore scrutinised orthodoxy--and in 1934, he struck. That year, an earthquake hit Bihar and killed thousands. Gandhi hailed it as seismic karma, as divine retribution avenging the oppression of Dalits. Tagore rebuked him for his seemingly ignominious implications. He mourned the perennial poverty of Calcutta and the socioeconomic decline of Bengal, and detailed these newly plebeian aesthetics in an unrhymed hundred-line poem whose technique of searing double-vision foreshadowed Satyajit Ray's film Apur Sansar. Fifteen new volumes appeared, among them prose-poem works Punashcha (1932), Shes Saptak (1935), and Patraput (1936). Experimentation continued in his prose-songs and dance-dramas-- Chitra (1914), Shyama (1939), and Chandalika (1938)-- and in his novels-- Dui Bon (1933), Malancha (1934), and Char Adhyay (1934).  Tagore's remit expanded to science in his last years, as hinted in Visva-Parichay, a 1937 collection of essays. His respect for scientific laws and his exploration of biology, physics, and astronomy informed his poetry, which exhibited extensive naturalism and verisimilitude. He wove the process of science, the narratives of scientists, into stories in Se (1937), Tin Sangi (1940), and Galpasalpa (1941). His last five years were marked by chronic pain and two long periods of illness. These began when Tagore lost consciousness in late 1937; he remained comatose and near death for a time. This was followed in late 1940 by a similar spell, from which he never recovered. Poetry from these valetudinary years is among his finest. A period of prolonged agony ended with Tagore's death on 7 August 1941, aged eighty; he was in an upstairs room of the Jorasanko mansion he was raised in. The date is still mourned. A. K. Sen, brother of the first chief election commissioner, received dictation from Tagore on 30 July 1941, a day prior to a scheduled operation: his last poem.  I'm lost in the middle of my birthday. I want my friends, their touch, with the earth's last love. I will take life's final offering, I will take the human's last blessing. Today my sack is empty. I have given completely whatever I had to give. In return if I receive anything--some love, some forgiveness--then I will take it with me when I step on the boat that crosses to the festival of the wordless end. CANNOTANSWER

Question: Was Rabindranath Tagor mourned?
Answer: The date is still mourned.
Public Enemy (band)

Context: Their debut album, Yo! Bum Rush the Show, was released in 1987 to critical acclaim. The album was the group's first step toward stardom. In October 1987, music critic Simon Reynolds dubbed Public Enemy "a superlative rock band". They released their second album It Takes a Nation of Millions to Hold Us Back in 1988, which performed better in the charts than their previous release, and included the hit single "Don't Believe the Hype" in addition to "Bring the Noise". Nation of Millions... was the first hip hop album to be voted album of the year in The Village Voice's influential Pazz & Jop critics' poll.  In 1989, the group returned to the studio to record Fear of a Black Planet, which continued their politically charged themes. The album was supposed to be released in late 1989, but was pushed back to April 1990. It was the most successful of any of their albums and, in 2005, was selected for preservation in the Library of Congress. It included the singles "Welcome To The Terrordome", "911 Is a Joke", which criticized emergency response units for taking longer to arrive at emergencies in the black community than those in the white community, and "Fight the Power". "Fight the Power" is regarded as one of the most popular and influential songs in hip hop history. It was the theme song of Spike Lee's Do the Right Thing.  The group's next release, Apocalypse '91...The Enemy Strikes Black, continued this trend, with songs like "Can't Truss It", which addressed the history of slavery and how the black community can fight back against oppression; "I Don't Wanna be Called Yo Nigga", a track that takes issue with the use of the word nigga outside of its original derogatory context. The album also included the controversial song and video "By the Time I Get to Arizona", which chronicled the black community's frustration that some US states did not recognize Martin Luther King Jr.'s birthday as a national holiday. The video featured members of Public Enemy taking out their frustrations on politicians in the states not recognizing the holiday. In 1992, the group was one of the first rap acts to perform at the Reading Festival, in England, headlining the second day of the three-day festival. CANNOTANSWER

Question: What mainstream success did Public Enemy have?
Answer: Nation of Millions... was the first hip hop album to be voted album of the year in The Village Voice's influential Pazz & Jop critics' poll.