lasha-nlp/CONDAQA huggingface dataset:
Passage: The walls and sanctum's door frame of the both levels are intricately carved. These show themes such as "makaras" and other mythical creatures, apsaras, elephants in different stages of activity, females in waving or welcoming gesture. The upper level of Cave 6 is significant in that it shows a devotee in a kneeling posture at the Buddha's feet, an indication of devotional worship practices by the 5th century. The colossal Buddha of the shrine has an elaborate throne back, but was hastily finished in 477/478 CE, when king Harisena died. The shrine antechamber of the cave features an abandoned sculptural group of the Six Buddhas of the Past, of which only five statues were carved. This idea may have been influenced from those in Bagh Caves of Madhya Pradesh.

Question: After his final session working on it, had the artist creating the Six Buddhas of the Past in the antechamber likely already used the majority of the sculpting material he was provided?
Answer: YES

Question: Is it likely the artist responsible for the Six Buddhas of the Past in the antechamber felt frustrated when reminiscing about his work on the piece?
Answer: YES

Question: Would the artist responsible for the Six Buddhas of the Past in the antechamber have felt ready to display the sculptures to the public after his final session working on them?
Answer: NO
Passage: The walls and sanctum's door frame of the both levels are intricately carved. These show themes such as "makaras" and other mythical creatures, apsaras, elephants in different stages of activity, females in waving or welcoming gesture. The upper level of Cave 6 is significant in that it shows a devotee in a kneeling posture at the Buddha's feet, an indication of devotional worship practices by the 5th century. The colossal Buddha of the shrine has an elaborate throne back, but was hastily finished in 477/478 CE, when king Harisena died. The shrine antechamber of the cave features a sculptural group of the Six Buddhas of the Past, of which five statues were unfinished. This idea may have been influenced from those in Bagh Caves of Madhya Pradesh.

Question: After his final session working on it, had the artist creating the Six Buddhas of the Past in the antechamber likely already used the majority of the sculpting material he was provided?
Answer: NO

Question: Is it likely the artist responsible for the Six Buddhas of the Past in the antechamber felt frustrated when reminiscing about his work on the piece?
Answer: YES

Question: Would the artist responsible for the Six Buddhas of the Past in the antechamber have felt ready to display the sculptures to the public after his final session working on them?
Answer: NO
Passage: The walls and sanctum's door frame of the both levels are intricately carved. These show themes such as "makaras" and other mythical creatures, apsaras, elephants in different stages of activity, females in waving or welcoming gesture. The upper level of Cave 6 is significant in that it shows a devotee in a kneeling posture at the Buddha's feet, an indication of devotional worship practices by the 5th century. The colossal Buddha of the shrine has an elaborate throne back, but was hastily finished in 477/478 CE, when king Harisena died. The shrine antechamber of the cave features a finished sculptural group of the Six Buddhas of the Past, of which all the statues were carved. This idea may have been influenced from those in Bagh Caves of Madhya Pradesh.

Question: After his final session working on it, had the artist creating the Six Buddhas of the Past in the antechamber likely already used the majority of the sculpting material he was provided?
Answer: YES

Question: Is it likely the artist responsible for the Six Buddhas of the Past in the antechamber felt frustrated when reminiscing about his work on the piece?
Answer: NO

Question: Would the artist responsible for the Six Buddhas of the Past in the antechamber have felt ready to display the sculptures to the public after his final session working on them?
Answer: YES
Passage: In 1981, the band's third studio album, "7", reached number 5 in the UK Albums Chart and contained three hit singles: "Grey Day" (no. 4, April 1981), "Shut Up" (no. 7, September 1981), and "Cardiac Arrest" (no. 14, February 1982). In an article in 1979, Chris Foreman explained that the band's music would move with the times, and change styles as time goes on. This was shown to be the case, as unlike the two ska-filled, fast-paced albums that preceded it, "7" was something of a change in direction. Suggs' vocal performance changed significantly, and his strong accent from the previous albums had been watered down. The album strayed from the ska-influenced sound of "One Step Beyond..." and "Absolutely" and moved towards a pop sound; a trend that continued with subsequent albums.

Question: Is it possible that a fan of Foreman's first two albums could have heard a new track from "7" in a club, and wondered if the band had a different singer, or that the DJ was playing an American tribute band that tried to emulate Foreman's unique sound, albeit with new material and lyrics?
Answer: YES

Question: Would someone who loved the early work of this band, yet had heard Chris Foreman's hints about changing the sound of his band and worried that they were going to go mainstream listen to the tracks on "7" and be more likely to feel relieved than vindicated in their worry?
Answer: NO

Question: From what you can learn from the entire passage, is it possible that Chris Foreman was actually being deliberately facetious when he spoke about changing the band's sound, because (whether he was just messing with journalists for fun, or cynically trying to get mainstream-pop fans to pick up something new that they otherwise wouldn't have been interested in) he and the rest of the band seemed to have no concrete plans to change their style, in "7" or in later albums?
Answer: NO
Passage: In 1981, the band's third studio album, "7", reached number 5 in the UK Albums Chart and contained three hit singles: "Grey Day" (no. 4, April 1981), "Shut Up" (no. 7, September 1981), and "Cardiac Arrest" (no. 14, February 1982). In an article in 1979, Chris Foreman explained that the band's music would move with the times, and change styles as time goes on. True to his word, the album "7" represented a shift in artistry from the previous two albums, which were faster in tempo and which consisted of more ska elements. Suggs' vocal performance changed significantly, and his strong accent from the previous albums had been watered down. The album strayed from the ska-influenced sound of "One Step Beyond..." and "Absolutely" and moved towards a pop sound; a trend that continued with subsequent albums.

Question: Is it possible that a fan of Foreman's first two albums could have heard a new track from "7" in a club, and wondered if the band had a different singer, or that the DJ was playing an American tribute band that tried to emulate Foreman's unique sound, albeit with new material and lyrics?
Answer: YES

Question: Would someone who loved the early work of this band, yet had heard Chris Foreman's hints about changing the sound of his band and worried that they were going to go mainstream listen to the tracks on "7" and be more likely to feel relieved than vindicated in their worry?
Answer: NO

Question: From what you can learn from the entire passage, is it possible that Chris Foreman was actually being deliberately facetious when he spoke about changing the band's sound, because (whether he was just messing with journalists for fun, or cynically trying to get mainstream-pop fans to pick up something new that they otherwise wouldn't have been interested in) he and the rest of the band seemed to have no concrete plans to change their style, in "7" or in later albums?
Answer: NO
Passage: In 1981, the band's third studio album, "7", reached number 5 in the UK Albums Chart and contained three hit singles: "Grey Day" (no. 4, April 1981), "Shut Up" (no. 7, September 1981), and "Cardiac Arrest" (no. 14, February 1982). In an article in 1979, Chris Foreman explained that the band's music would move with the times, and change styles as time goes on. This was shown to be premature, as unlike the albums that came later, "7" mostly stuck with the ska-filled elements and fast tempos of the two albums that preceded it. It was not until their fourth album that Suggs' vocal performance changed significantly, and his strong accent from the previous albums had been watered down. The album strayed from the ska-influenced sound of "One Step Beyond..." and "Absolutely" and moved towards a pop sound; a trend that continued with subsequent albums.

Question: Is it possible that a fan of Foreman's first two albums could have heard a new track from "7" in a club, and wondered if the band had a different singer, or that the DJ was playing an American tribute band that tried to emulate Foreman's unique sound, albeit with new material and lyrics?
Answer: NO

Question: Would someone who loved the early work of this band, yet had heard Chris Foreman's hints about changing the sound of his band and worried that they were going to go mainstream listen to the tracks on "7" and be more likely to feel relieved than vindicated in their worry?
Answer: YES
Passage: In 1981, the band's third studio album, "7", reached number 5 in the UK Albums Chart and contained three hit singles: "Grey Day" (no. 4, April 1981), "Shut Up" (no. 7, September 1981), and "Cardiac Arrest" (no. 14, February 1982). In an article in 1979, Chris Foreman explained that the band's music would move with the times, and change styles as time goes on. This was shown to hardly be the case, as "7" represented little change from the two ska-filled, fast-paced albums that preceded it. Suggs' vocal performance changed slightly in their next album, the band's fourth, and his strong accent from the previous three albums had been watered down somewhat, likely due to the time he spent abroad. The album never strayed from the ska-influenced sound of "One Step Beyond..." and "Absolutely," however, and the band refused to move towards a pop sound; sticking to their roots with subsequent albums.

Question: Is it possible that a fan of Foreman's first two albums could have heard a new track from "7" in a club, and wondered if the band had a different singer, or that the DJ was playing an American tribute band that tried to emulate Foreman's unique sound, albeit with new material and lyrics?
Answer: NO

Question: Would someone who loved the early work of this band, yet had heard Chris Foreman's hints about changing the sound of his band and worried that they were going to go mainstream listen to the tracks on "7" and be more likely to feel relieved than vindicated in their worry?
Answer: YES

Question: From what you can learn from the entire passage, is it possible that Chris Foreman was actually being deliberately facetious when he spoke about changing the band's sound, because (whether he was just messing with journalists for fun, or cynically trying to get mainstream-pop fans to pick up something new that they otherwise wouldn't have been interested in) he and the rest of the band seemed to have no concrete plans to change their style, in "7" or in later albums?
Answer: YES
Passage: Originally the bishop and cathedral clergy formed a kind of religious community, which, while not in the true sense a monastery, was nevertheless often called a "monasterium", the word not having the restricted meaning that it afterwards acquired. In this lies the reason for the apparent anomaly that churches like York Minster and Lincoln Cathedral, which never had any monks attached to them, have inherited the name of minster or monastery. In these early communities the clergy often lived apart in their own dwellings, and were not infrequently married.

Question: Does it sound like the religious denomination that maintained these monasteria was one that officially required a vow of chastity from the clergy (even if a few rare exceptions were allowed)?
Answer: NO

Question: Although not physically present in the buildings, does it sound like the clergy nevertheless lived their lives a similar manner to that of monks, which might explain why the name was used?
Answer: NO

Question: Would the clergy who lived in these communities generally have reason to consider the quality of local schools for their own immediate family's sake when choosing their dwelling locations?
Answer: YES
Passage: Originally the bishop and cathedral clergy formed a kind of religious community, which, while not in the true sense a monastery, was nevertheless often called a "monasterium", the word not having the restricted meaning that it afterwards acquired. In this lies the reason for the apparent anomaly that churches like York Minster and Lincoln Cathedral, which never had any monks attached to them, have inherited the name of minster or monastery. The clergy often maintained their own living arrangements in separate dwellings, and it was not unusual for them to marry.

Question: Does it sound like the religious denomination that maintained these monasteria was one that officially required a vow of chastity from the clergy (even if a few rare exceptions were allowed)?
Answer: NO

Question: Although not physically present in the buildings, does it sound like the clergy nevertheless lived their lives a similar manner to that of monks, which might explain why the name was used?
Answer: NO

Question: Would the clergy who lived in these communities generally have reason to consider the quality of local schools for their own immediate family's sake when choosing their dwelling locations?
Answer: YES
Passage: Originally the bishop and cathedral clergy formed a kind of religious community, which, while not in the true sense a monastery, was nevertheless often called a "monasterium", the word not having the restricted meaning that it afterwards acquired. In this lies the reason for the apparent anomaly that churches like York Minster and Lincoln Cathedral, which never had any monks attached to them, have inherited the name of minster or monastery. In these early communities the clergy often lived apart in their own dwellings, and while it was tolerated by the church, instances of marriage by clergymen were highly infrequent.

Question: Does it sound like the religious denomination that maintained these monasteria was one that officially required a vow of chastity from the clergy (even if a few rare exceptions were allowed)?
Answer: YES

Question: Although not physically present in the buildings, does it sound like the clergy nevertheless lived their lives a similar manner to that of monks, which might explain why the name was used?
Answer: YES

Question: Would the clergy who lived in these communities generally have reason to consider the quality of local schools for their own immediate family's sake when choosing their dwelling locations?
Answer: NO
Passage: Originally the bishop and cathedral clergy formed a kind of religious community, which, while not in the true sense a monastery, was nevertheless often called a "monasterium", the word not having the restricted meaning that it afterwards acquired. In this lies the reason for the apparent anomaly that churches like York Minster and Lincoln Cathedral, which never had any monks attached to them, have inherited the name of minster or monastery. In these early communities the clergy often lived apart in their own dwellings, and never married.

Question: Does it sound like the religious denomination that maintained these monasteria was one that officially required a vow of chastity from the clergy (even if a few rare exceptions were allowed)?
Answer: YES

Question: Although not physically present in the buildings, does it sound like the clergy nevertheless lived their lives a similar manner to that of monks, which might explain why the name was used?
Answer: YES

Question: Would the clergy who lived in these communities generally have reason to consider the quality of local schools for their own immediate family's sake when choosing their dwelling locations?
Answer: NO
Passage: During the 1980s and early 1990s, Murdoch's publications were generally supportive of Britain's Prime Minister Margaret Thatcher. At the end of the Thatcher/Major era, Murdoch switched his support to the Labour Party and its leader, Tony Blair. The closeness of his relationship with Blair and their secret meetings to discuss national policies was to become a political issue in Britain. This later changed, with "The Sun", in its English editions, publicly renouncing the ruling Labour government and lending its support to David Cameron's Conservative Party, which soon afterwards formed a coalition government. In Scotland, where the Conservatives had suffered a complete annihilation in 1997, the paper began to endorse the Scottish National Party (though not yet its flagship policy of independence), which soon after came to form the first ever outright majority in the proportionally elected Scottish Parliament. Former Prime Minister Gordon Brown's official spokesman said in November 2009 that Brown and Murdoch "were in regular communication" and that "there is nothing unusual in the prime minister talking to Rupert Murdoch".

Question: Would The Sun likely have editorials favoring Scottish independence?
Answer: NO

Question: If another Scottish party arose that held the same views as the Scottish National Party but opposed independence, would the Sun likely endorse that party?
Answer: YES

Question: Would the Sun likely publish a letter to the editor from a member of the Scottish National Party if the content was solely about endorsing independence?
Answer: NO
Passage: During the 1980s and early 1990s, Murdoch's publications were generally supportive of Britain's Prime Minister Margaret Thatcher. At the end of the Thatcher/Major era, Murdoch switched his support to the Labour Party and its leader, Tony Blair. The closeness of his relationship with Blair and their secret meetings to discuss national policies was to become a political issue in Britain. This later changed, with "The Sun", in its English editions, publicly renouncing the ruling Labour government and lending its support to David Cameron's Conservative Party, which soon afterwards formed a coalition government. In Scotland, where the Conservatives had suffered a complete annihilation in 1997, the paper began to endorse the Scottish National Party (without yet endorsing its flagship policy of independence), which soon after came to form the first ever outright majority in the proportionally elected Scottish Parliament. Former Prime Minister Gordon Brown's official spokesman said in November 2009 that Brown and Murdoch "were in regular communication" and that "there is nothing unusual in the prime minister talking to Rupert Murdoch".

Question: Would The Sun likely have editorials favoring Scottish independence?
Answer: NO

Question: If another Scottish party arose that held the same views as the Scottish National Party but opposed independence, would the Sun likely endorse that party?
Answer: YES

Question: Would the Sun likely publish a letter to the editor from a member of the Scottish National Party if the content was solely about endorsing independence?
Answer: NO
Passage: During the 1980s and early 1990s, Murdoch's publications were generally supportive of Britain's Prime Minister Margaret Thatcher. At the end of the Thatcher/Major era, Murdoch switched his support to the Labour Party and its leader, Tony Blair. The closeness of his relationship with Blair and their secret meetings to discuss national policies was to become a political issue in Britain. This later changed, with "The Sun", in its English editions, publicly renouncing the ruling Labour government and lending its support to David Cameron's Conservative Party, which soon afterwards formed a coalition government. In Scotland, where the Conservatives had suffered a complete annihilation in 1997, the paper did not endorse the Scottish National Party (because of its flagship policy of independence), which soon after came to form the first ever outright majority in the proportionally elected Scottish Parliament. Former Prime Minister Gordon Brown's official spokesman said in November 2009 that Brown and Murdoch "were in regular communication" and that "there is nothing unusual in the prime minister talking to Rupert Murdoch".

Question: Would The Sun likely have editorials favoring Scottish independence?
Answer: NO

Question: Would the Sun likely publish a letter to the editor from a member of the Scottish National Party if the content was solely about endorsing independence?
Answer: NO
Passage: During the 1980s and early 1990s, Murdoch's publications were generally supportive of Britain's Prime Minister Margaret Thatcher. At the end of the Thatcher/Major era, Murdoch switched his support to the Labour Party and its leader, Tony Blair. The closeness of his relationship with Blair and their secret meetings to discuss national policies was to become a political issue in Britain. This later changed, with "The Sun", in its English editions, publicly renouncing the ruling Labour government and lending its support to David Cameron's Conservative Party, which soon afterwards formed a coalition government. In Scotland, where the Conservatives had suffered a complete annihilation in 1997, the paper began to endorse the Scottish National Party (even its flagship policy of independence), which soon after came to form the first ever outright majority in the proportionally elected Scottish Parliament. Former Prime Minister Gordon Brown's official spokesman said in November 2009 that Brown and Murdoch "were in regular communication" and that "there is nothing unusual in the prime minister talking to Rupert Murdoch".

Question: Would The Sun likely have editorials favoring Scottish independence?
Answer: YES

Question: If another Scottish party arose that held the same views as the Scottish National Party but opposed independence, would the Sun likely endorse that party?
Answer: NO

Question: Would the Sun likely publish a letter to the editor from a member of the Scottish National Party if the content was solely about endorsing independence?
Answer: YES
Passage: A pioneering work of the fantasy genre was "The King of Elfland's Daughter", a 1924 novel by Lord Dunsany. The Elves of Middle-earth played a central role in Tolkien's legendarium, notably "The Hobbit" and "The Lord of the Rings"; this legendarium was enormously influential on subsequent fantasy writing. Tolkien's writing had such influence that in the 1960s and afterwards, elves speaking an elvish language similar to those in Tolkien's novels became staple non-human characters in high fantasy works and in fantasy role-playing games. Tolkien also appears to be the first author to have introduced the notion that elves are immortal. Post-Tolkien fantasy elves (which feature not only in novels but also in role-playing games such as "Dungeons & Dragons") are often portrayed as being wiser and more beautiful than humans, with sharper senses and perceptions as well. They are said to be gifted in magic, mentally sharp and lovers of nature, art, and song. They are often skilled archers. A hallmark of many fantasy elves is their pointed ears.

Question: Given the way that depictions of elves in fiction started to show them getting more skillful and generally more peaceful after Tolkien's work, could you say that the basic idea behind this change was that elves were being depicted as growing wiser after living much longer than authors had previously assumed they would live?
Answer: YES

Question: Based on the way this passage describes Tolkien's characters, if an elf were to die in one of these stories, could the reader assume that the death came about as a result of sudden injury in battle, as a result of grief, or perhaps due to some other cause that humans would call "untimely"?
Answer: YES