niryuu/sni-each-converted huggingface dataset:
Passage: Until 1890, and especially after his friends had died, Friedrich's work lay in near-oblivion for decades. Yet, by 1890, the symbolism in his work began to ring true with the artistic mood of the day, especially in central Europe. However, despite a renewed interest and an acknowledgment of his originality, his lack of regard for "painterly effect" and thinly rendered surfaces jarred with the theories of the time.
During the 1930s, Friedrich's work was used in the promotion of Nazi ideology, which attempted to fit the Romantic artist within the nationalistic Blut und Boden. It took decades for Friedrich's reputation to recover from this association with Nazism. His reliance on symbolism and the fact that his work fell outside the narrow definitions of modernism contributed to his fall from favour. In 1949, art historian Kenneth Clark wrote that Friedrich "worked in the frigid technique of his time, which could hardly inspire a school of modern painting", and suggested that the artist was trying to express in painting what is best left to poetry. Clark's dismissal of Friedrich reflected the damage the artist's reputation sustained during the late 1930s.Friedrich's reputation suffered further damage when his imagery was adopted by a number of Hollywood directors, such as Walt Disney, built on the work of such German cinema masters as Fritz Lang and F. W. Murnau, within the horror and fantasy genres. His rehabilitation was slow, but enhanced through the writings of such critics and scholars as Werner Hofmann, Helmut Börsch-Supan and Sigrid Hinz, who successfully rejected and rebutted the political associations ascribed to his work, and placed it within a purely art-historical context. By the 1970s, he was again being exhibited in major galleries across the world, as he found favour with a new generation of critics and art historians.
Today, his international reputation is well established. He is a national icon in his native Germany, and highly regarded by art historians and art connoisseurs across the Western World. He is generally viewed as a figure of great psychological complexity, and according to Vaughan, "a believer who struggled with doubt, a celebrator of beauty haunted by darkness. In the end, he transcends interpretation, reaching across cultures through the compelling appeal of his imagery. He has truly emerged as a butterfly—hopefully one that will never again disappear from our sight".
Output: What is the name of the person who said the man with a well established international reputation is "a believer who struggled with doubt"?
Passage: Until 1890, and especially after his friends had died, Friedrich's work lay in near-oblivion for decades. Yet, by 1890, the symbolism in his work began to ring true with the artistic mood of the day, especially in central Europe. However, despite a renewed interest and an acknowledgment of his originality, his lack of regard for "painterly effect" and thinly rendered surfaces jarred with the theories of the time.
During the 1930s, Friedrich's work was used in the promotion of Nazi ideology, which attempted to fit the Romantic artist within the nationalistic Blut und Boden. It took decades for Friedrich's reputation to recover from this association with Nazism. His reliance on symbolism and the fact that his work fell outside the narrow definitions of modernism contributed to his fall from favour. In 1949, art historian Kenneth Clark wrote that Friedrich "worked in the frigid technique of his time, which could hardly inspire a school of modern painting", and suggested that the artist was trying to express in painting what is best left to poetry. Clark's dismissal of Friedrich reflected the damage the artist's reputation sustained during the late 1930s.Friedrich's reputation suffered further damage when his imagery was adopted by a number of Hollywood directors, such as Walt Disney, built on the work of such German cinema masters as Fritz Lang and F. W. Murnau, within the horror and fantasy genres. His rehabilitation was slow, but enhanced through the writings of such critics and scholars as Werner Hofmann, Helmut Börsch-Supan and Sigrid Hinz, who successfully rejected and rebutted the political associations ascribed to his work, and placed it within a purely art-historical context. By the 1970s, he was again being exhibited in major galleries across the world, as he found favour with a new generation of critics and art historians.
Today, his international reputation is well established. He is a national icon in his native Germany, and highly regarded by art historians and art connoisseurs across the Western World. He is generally viewed as a figure of great psychological complexity, and according to Vaughan, "a believer who struggled with doubt, a celebrator of beauty haunted by darkness. In the end, he transcends interpretation, reaching across cultures through the compelling appeal of his imagery. He has truly emerged as a butterfly—hopefully one that will never again disappear from our sight".
Output: In what country is the man who's work was used in promotion of Nazi ideology a national icon?
Passage: In reviewing the New York premiere, the critics greeted Gianni Schicchi warmly; most reviewers found it to be the best of the three operas. New York Herald Tribune critic Henry Krehbiel described it as "so uproariously funny ... so full of life, humor, and ingenious devices". The New York Times reviewer James Huneker considered the opera to be "a rollicking, madcap scherzo, overflowing with merry deviltries ... And the last shall be first." Huneker praised De Luca as "a most engaging rascal, fit for a minor niche in Moliere's gallery". The Times critic was also amused by Marto Malatesta as "The 'Kid' Gherardino, who is spanked by the irate family".Rome's critics gave Il trittico as a whole a warmer reception, but still saw Gianni Schicchi as the best of the three. Alberto Gasco in La tribuna noted, "In terms of harmonic technique, Il tabarro and Schicchi advance quite startling elements of novelty. Nothing that contemporary art has produced escapes the studious and astute Giacomo Puccini." Gasco also stated that while many critics were waiting for the first two operas with their fists drawn, Gianni Schicchi disarmed these "hired assassins" with a "single glance". An anonymous reviewer in L'idea nazionale felt that the three works comprised a unified whole, but feared that Puccini was becoming less inventive. L'idea nazionale was a nationalist newspaper, and praised Puccini for returning to an Italian subject "after so many useless Japanese, American, Parisian digressions".Modern productions, including those in an updated context, have been generally well received. Describing the 2004 Glyndebourne pairing with The Miserly Knight as "flip sides of the same coin", reviewer Edward Seckerson in The Independent found the Schicchi performance "a triumph of ensemble directing and playing, ... wickedly observed, sharp, focussed and funny". The New York Times gave a positive review to the Woody Allen 2008 production, which is set in a crowded tenement in which the boy Gherardino is practising knife thrusts. However, the critic questioned Allen's altered ending, in which Schicchi is stabbed by Zita as he addresses the audience. Los Angeles Times critic Mark Swed deemed Allen's production one of the top ten moments in classical music for 2008, and applauded it for "hilarious wit and engaging musicality". Allen Rich of Variety praised the piece, though he disliked Allen's idea of beginning the opera with a montage of old film clips, with credits featuring mock-Italian names.
Output: What is the name of the work Krehbiel describes as "uproariously funny"?
Passage: In reviewing the New York premiere, the critics greeted Gianni Schicchi warmly; most reviewers found it to be the best of the three operas. New York Herald Tribune critic Henry Krehbiel described it as "so uproariously funny ... so full of life, humor, and ingenious devices". The New York Times reviewer James Huneker considered the opera to be "a rollicking, madcap scherzo, overflowing with merry deviltries ... And the last shall be first." Huneker praised De Luca as "a most engaging rascal, fit for a minor niche in Moliere's gallery". The Times critic was also amused by Marto Malatesta as "The 'Kid' Gherardino, who is spanked by the irate family".Rome's critics gave Il trittico as a whole a warmer reception, but still saw Gianni Schicchi as the best of the three. Alberto Gasco in La tribuna noted, "In terms of harmonic technique, Il tabarro and Schicchi advance quite startling elements of novelty. Nothing that contemporary art has produced escapes the studious and astute Giacomo Puccini." Gasco also stated that while many critics were waiting for the first two operas with their fists drawn, Gianni Schicchi disarmed these "hired assassins" with a "single glance". An anonymous reviewer in L'idea nazionale felt that the three works comprised a unified whole, but feared that Puccini was becoming less inventive. L'idea nazionale was a nationalist newspaper, and praised Puccini for returning to an Italian subject "after so many useless Japanese, American, Parisian digressions".Modern productions, including those in an updated context, have been generally well received. Describing the 2004 Glyndebourne pairing with The Miserly Knight as "flip sides of the same coin", reviewer Edward Seckerson in The Independent found the Schicchi performance "a triumph of ensemble directing and playing, ... wickedly observed, sharp, focussed and funny". The New York Times gave a positive review to the Woody Allen 2008 production, which is set in a crowded tenement in which the boy Gherardino is practising knife thrusts. However, the critic questioned Allen's altered ending, in which Schicchi is stabbed by Zita as he addresses the audience. Los Angeles Times critic Mark Swed deemed Allen's production one of the top ten moments in classical music for 2008, and applauded it for "hilarious wit and engaging musicality". Allen Rich of Variety praised the piece, though he disliked Allen's idea of beginning the opera with a montage of old film clips, with credits featuring mock-Italian names.
Output: What is the name of the opera Huneker considered to be "a rollicking, madcap scherzo, overflowing with merry deviltries"?
Passage: In reviewing the New York premiere, the critics greeted Gianni Schicchi warmly; most reviewers found it to be the best of the three operas. New York Herald Tribune critic Henry Krehbiel described it as "so uproariously funny ... so full of life, humor, and ingenious devices". The New York Times reviewer James Huneker considered the opera to be "a rollicking, madcap scherzo, overflowing with merry deviltries ... And the last shall be first." Huneker praised De Luca as "a most engaging rascal, fit for a minor niche in Moliere's gallery". The Times critic was also amused by Marto Malatesta as "The 'Kid' Gherardino, who is spanked by the irate family".Rome's critics gave Il trittico as a whole a warmer reception, but still saw Gianni Schicchi as the best of the three. Alberto Gasco in La tribuna noted, "In terms of harmonic technique, Il tabarro and Schicchi advance quite startling elements of novelty. Nothing that contemporary art has produced escapes the studious and astute Giacomo Puccini." Gasco also stated that while many critics were waiting for the first two operas with their fists drawn, Gianni Schicchi disarmed these "hired assassins" with a "single glance". An anonymous reviewer in L'idea nazionale felt that the three works comprised a unified whole, but feared that Puccini was becoming less inventive. L'idea nazionale was a nationalist newspaper, and praised Puccini for returning to an Italian subject "after so many useless Japanese, American, Parisian digressions".Modern productions, including those in an updated context, have been generally well received. Describing the 2004 Glyndebourne pairing with The Miserly Knight as "flip sides of the same coin", reviewer Edward Seckerson in The Independent found the Schicchi performance "a triumph of ensemble directing and playing, ... wickedly observed, sharp, focussed and funny". The New York Times gave a positive review to the Woody Allen 2008 production, which is set in a crowded tenement in which the boy Gherardino is practising knife thrusts. However, the critic questioned Allen's altered ending, in which Schicchi is stabbed by Zita as he addresses the audience. Los Angeles Times critic Mark Swed deemed Allen's production one of the top ten moments in classical music for 2008, and applauded it for "hilarious wit and engaging musicality". Allen Rich of Variety praised the piece, though he disliked Allen's idea of beginning the opera with a montage of old film clips, with credits featuring mock-Italian names.
Output: What are the specific names of the first two operas for which, according to Gasco, many critics were waiting with their fists drawn?
Passage: In reviewing the New York premiere, the critics greeted Gianni Schicchi warmly; most reviewers found it to be the best of the three operas. New York Herald Tribune critic Henry Krehbiel described it as "so uproariously funny ... so full of life, humor, and ingenious devices". The New York Times reviewer James Huneker considered the opera to be "a rollicking, madcap scherzo, overflowing with merry deviltries ... And the last shall be first." Huneker praised De Luca as "a most engaging rascal, fit for a minor niche in Moliere's gallery". The Times critic was also amused by Marto Malatesta as "The 'Kid' Gherardino, who is spanked by the irate family".Rome's critics gave Il trittico as a whole a warmer reception, but still saw Gianni Schicchi as the best of the three. Alberto Gasco in La tribuna noted, "In terms of harmonic technique, Il tabarro and Schicchi advance quite startling elements of novelty. Nothing that contemporary art has produced escapes the studious and astute Giacomo Puccini." Gasco also stated that while many critics were waiting for the first two operas with their fists drawn, Gianni Schicchi disarmed these "hired assassins" with a "single glance". An anonymous reviewer in L'idea nazionale felt that the three works comprised a unified whole, but feared that Puccini was becoming less inventive. L'idea nazionale was a nationalist newspaper, and praised Puccini for returning to an Italian subject "after so many useless Japanese, American, Parisian digressions".Modern productions, including those in an updated context, have been generally well received. Describing the 2004 Glyndebourne pairing with The Miserly Knight as "flip sides of the same coin", reviewer Edward Seckerson in The Independent found the Schicchi performance "a triumph of ensemble directing and playing, ... wickedly observed, sharp, focussed and funny". The New York Times gave a positive review to the Woody Allen 2008 production, which is set in a crowded tenement in which the boy Gherardino is practising knife thrusts. However, the critic questioned Allen's altered ending, in which Schicchi is stabbed by Zita as he addresses the audience. Los Angeles Times critic Mark Swed deemed Allen's production one of the top ten moments in classical music for 2008, and applauded it for "hilarious wit and engaging musicality". Allen Rich of Variety praised the piece, though he disliked Allen's idea of beginning the opera with a montage of old film clips, with credits featuring mock-Italian names.
Output: What are the specific names of the three individual works by Puccini that, according to an anonymous reviewer in L'idea nazionale, comprised a unified whole?
Passage: One of Greenway's finest works, St James' is listed on the (now defunct) Register of the National Estate. It has been called an "architectural gem" and was featured by Dan Cruickshank in the BBC television series Around the World in 80 Treasures. From 1966 to 1993 the spire of St James' appeared on the Australian Australian ten-dollar note among other Greenway buildings. In 1973, the church appeared on a 50 cent postage stamp, one of four in a series illustrating Australian architecture issued to commemorate the opening of the Sydney Opera House. The Old Supreme Court building, also designed by Greenway with alternations by others, located next to the church is of the same date. Across the square is Greenway's "masterpiece", the UNESCO World Heritage listed-Hyde Park Barracks, designed to align with the church. Beside the barracks stands Sydney's oldest public building, part of the General Hospital built in 1811 and now known as the Mint Building. Separated from the Mint by the present-day Sydney Hospital is Parliament House, Sydney, of which the central section is a further part of the early hospital, and is now home to the New South Wales State Parliament.The church was constructed between 1820 and 1824 with later additions made in 1834 by John Verge who designed the vestries at the eastern end. Apart from these vestries, which retain the established style and proportions, the church externally remains "fine Georgian" much as Greenway conceived it. Relying on the "virtues of simplicity and proportion to achieve his end", Greenway maintained the classical tradition, unaffected by the Revivalist styles that were being promoted in London at the time he arrived in the colony. He planned the church to align with his earlier Hyde Park Barracks, constructed in 1817–19. The two buildings have similar proportions, pilasters and gables and together constitute an important example of town-planning. Before the advent of high-rise buildings, the 46-metre (150 ft) spire used to "serve as a guide for mariners coming up Port Jackson".St James' originally took the form of a simple rectangular block, without transepts or chancel, with a tower at the western end and a classical portico of the Doric order on either side. To this has been added Verge's vestry framed by two small porticos, and a similar portico as an entrance to the tower. The church is built of local brick, its walls divided by brick pilasters into a series of bays. The walls are pierced by large windows with round arched heads in a colour that separates and defines them against the walls. The roof carries over the end walls with the gable forming triangular pediments of classical proportions carrying a cornice across the eaves line. Thus the architectural treatment on the side walls is continued around the end walls.
Output: What is the name of that which is called an architectural gem and was featured by Dan Cruickshank in a BBC television series?
Passage: One of Greenway's finest works, St James' is listed on the (now defunct) Register of the National Estate. It has been called an "architectural gem" and was featured by Dan Cruickshank in the BBC television series Around the World in 80 Treasures. From 1966 to 1993 the spire of St James' appeared on the Australian Australian ten-dollar note among other Greenway buildings. In 1973, the church appeared on a 50 cent postage stamp, one of four in a series illustrating Australian architecture issued to commemorate the opening of the Sydney Opera House. The Old Supreme Court building, also designed by Greenway with alternations by others, located next to the church is of the same date. Across the square is Greenway's "masterpiece", the UNESCO World Heritage listed-Hyde Park Barracks, designed to align with the church. Beside the barracks stands Sydney's oldest public building, part of the General Hospital built in 1811 and now known as the Mint Building. Separated from the Mint by the present-day Sydney Hospital is Parliament House, Sydney, of which the central section is a further part of the early hospital, and is now home to the New South Wales State Parliament.The church was constructed between 1820 and 1824 with later additions made in 1834 by John Verge who designed the vestries at the eastern end. Apart from these vestries, which retain the established style and proportions, the church externally remains "fine Georgian" much as Greenway conceived it. Relying on the "virtues of simplicity and proportion to achieve his end", Greenway maintained the classical tradition, unaffected by the Revivalist styles that were being promoted in London at the time he arrived in the colony. He planned the church to align with his earlier Hyde Park Barracks, constructed in 1817–19. The two buildings have similar proportions, pilasters and gables and together constitute an important example of town-planning. Before the advent of high-rise buildings, the 46-metre (150 ft) spire used to "serve as a guide for mariners coming up Port Jackson".St James' originally took the form of a simple rectangular block, without transepts or chancel, with a tower at the western end and a classical portico of the Doric order on either side. To this has been added Verge's vestry framed by two small porticos, and a similar portico as an entrance to the tower. The church is built of local brick, its walls divided by brick pilasters into a series of bays. The walls are pierced by large windows with round arched heads in a colour that separates and defines them against the walls. The roof carries over the end walls with the gable forming triangular pediments of classical proportions carrying a cornice across the eaves line. Thus the architectural treatment on the side walls is continued around the end walls.
Output: What is the name of the church next to the Old Supreme Court building, the latter of which was also designed by Greenway?
Passage: One of Greenway's finest works, St James' is listed on the (now defunct) Register of the National Estate. It has been called an "architectural gem" and was featured by Dan Cruickshank in the BBC television series Around the World in 80 Treasures. From 1966 to 1993 the spire of St James' appeared on the Australian Australian ten-dollar note among other Greenway buildings. In 1973, the church appeared on a 50 cent postage stamp, one of four in a series illustrating Australian architecture issued to commemorate the opening of the Sydney Opera House. The Old Supreme Court building, also designed by Greenway with alternations by others, located next to the church is of the same date. Across the square is Greenway's "masterpiece", the UNESCO World Heritage listed-Hyde Park Barracks, designed to align with the church. Beside the barracks stands Sydney's oldest public building, part of the General Hospital built in 1811 and now known as the Mint Building. Separated from the Mint by the present-day Sydney Hospital is Parliament House, Sydney, of which the central section is a further part of the early hospital, and is now home to the New South Wales State Parliament.The church was constructed between 1820 and 1824 with later additions made in 1834 by John Verge who designed the vestries at the eastern end. Apart from these vestries, which retain the established style and proportions, the church externally remains "fine Georgian" much as Greenway conceived it. Relying on the "virtues of simplicity and proportion to achieve his end", Greenway maintained the classical tradition, unaffected by the Revivalist styles that were being promoted in London at the time he arrived in the colony. He planned the church to align with his earlier Hyde Park Barracks, constructed in 1817–19. The two buildings have similar proportions, pilasters and gables and together constitute an important example of town-planning. Before the advent of high-rise buildings, the 46-metre (150 ft) spire used to "serve as a guide for mariners coming up Port Jackson".St James' originally took the form of a simple rectangular block, without transepts or chancel, with a tower at the western end and a classical portico of the Doric order on either side. To this has been added Verge's vestry framed by two small porticos, and a similar portico as an entrance to the tower. The church is built of local brick, its walls divided by brick pilasters into a series of bays. The walls are pierced by large windows with round arched heads in a colour that separates and defines them against the walls. The roof carries over the end walls with the gable forming triangular pediments of classical proportions carrying a cornice across the eaves line. Thus the architectural treatment on the side walls is continued around the end walls.
Output: What is the name of the church constructed between 1820 and 1824 with later additions made in 1834 by John Verge who designed the vestries at the eastern end?
Passage: One of Greenway's finest works, St James' is listed on the (now defunct) Register of the National Estate. It has been called an "architectural gem" and was featured by Dan Cruickshank in the BBC television series Around the World in 80 Treasures. From 1966 to 1993 the spire of St James' appeared on the Australian Australian ten-dollar note among other Greenway buildings. In 1973, the church appeared on a 50 cent postage stamp, one of four in a series illustrating Australian architecture issued to commemorate the opening of the Sydney Opera House. The Old Supreme Court building, also designed by Greenway with alternations by others, located next to the church is of the same date. Across the square is Greenway's "masterpiece", the UNESCO World Heritage listed-Hyde Park Barracks, designed to align with the church. Beside the barracks stands Sydney's oldest public building, part of the General Hospital built in 1811 and now known as the Mint Building. Separated from the Mint by the present-day Sydney Hospital is Parliament House, Sydney, of which the central section is a further part of the early hospital, and is now home to the New South Wales State Parliament.The church was constructed between 1820 and 1824 with later additions made in 1834 by John Verge who designed the vestries at the eastern end. Apart from these vestries, which retain the established style and proportions, the church externally remains "fine Georgian" much as Greenway conceived it. Relying on the "virtues of simplicity and proportion to achieve his end", Greenway maintained the classical tradition, unaffected by the Revivalist styles that were being promoted in London at the time he arrived in the colony. He planned the church to align with his earlier Hyde Park Barracks, constructed in 1817–19. The two buildings have similar proportions, pilasters and gables and together constitute an important example of town-planning. Before the advent of high-rise buildings, the 46-metre (150 ft) spire used to "serve as a guide for mariners coming up Port Jackson".St James' originally took the form of a simple rectangular block, without transepts or chancel, with a tower at the western end and a classical portico of the Doric order on either side. To this has been added Verge's vestry framed by two small porticos, and a similar portico as an entrance to the tower. The church is built of local brick, its walls divided by brick pilasters into a series of bays. The walls are pierced by large windows with round arched heads in a colour that separates and defines them against the walls. The roof carries over the end walls with the gable forming triangular pediments of classical proportions carrying a cornice across the eaves line. Thus the architectural treatment on the side walls is continued around the end walls.
Output: What are the full names of the two buildings that have similar proportions, pilasters and gables and together constitute an important example of town-planning?
Passage: One of Greenway's finest works, St James' is listed on the (now defunct) Register of the National Estate. It has been called an "architectural gem" and was featured by Dan Cruickshank in the BBC television series Around the World in 80 Treasures. From 1966 to 1993 the spire of St James' appeared on the Australian Australian ten-dollar note among other Greenway buildings. In 1973, the church appeared on a 50 cent postage stamp, one of four in a series illustrating Australian architecture issued to commemorate the opening of the Sydney Opera House. The Old Supreme Court building, also designed by Greenway with alternations by others, located next to the church is of the same date. Across the square is Greenway's "masterpiece", the UNESCO World Heritage listed-Hyde Park Barracks, designed to align with the church. Beside the barracks stands Sydney's oldest public building, part of the General Hospital built in 1811 and now known as the Mint Building. Separated from the Mint by the present-day Sydney Hospital is Parliament House, Sydney, of which the central section is a further part of the early hospital, and is now home to the New South Wales State Parliament.The church was constructed between 1820 and 1824 with later additions made in 1834 by John Verge who designed the vestries at the eastern end. Apart from these vestries, which retain the established style and proportions, the church externally remains "fine Georgian" much as Greenway conceived it. Relying on the "virtues of simplicity and proportion to achieve his end", Greenway maintained the classical tradition, unaffected by the Revivalist styles that were being promoted in London at the time he arrived in the colony. He planned the church to align with his earlier Hyde Park Barracks, constructed in 1817–19. The two buildings have similar proportions, pilasters and gables and together constitute an important example of town-planning. Before the advent of high-rise buildings, the 46-metre (150 ft) spire used to "serve as a guide for mariners coming up Port Jackson".St James' originally took the form of a simple rectangular block, without transepts or chancel, with a tower at the western end and a classical portico of the Doric order on either side. To this has been added Verge's vestry framed by two small porticos, and a similar portico as an entrance to the tower. The church is built of local brick, its walls divided by brick pilasters into a series of bays. The walls are pierced by large windows with round arched heads in a colour that separates and defines them against the walls. The roof carries over the end walls with the gable forming triangular pediments of classical proportions carrying a cornice across the eaves line. Thus the architectural treatment on the side walls is continued around the end walls.
Output: What is the name of the church built of local brick, its walls divided by brick pilasters into a series of bays?
Passage: Monday marked the beginning of organised action, even as order broke down in the streets, especially at the gates, and the fire raged unchecked. Bloodworth was responsible as Lord Mayor for co-ordinating the fire-fighting, but he had apparently left the City; his name is not mentioned in any contemporaneous accounts of the Monday's events. In this state of emergency, the King again overrode the City authorities and put his brother James, Duke of York, in charge of operations.
James set up command posts round the perimeter of the fire, press-ganging into teams of well-paid and well-fed firemen any men of the lower classes found in the streets. Three courtiers were put in charge of each post, with authority from Charles himself to order demolitions. This visible gesture of solidarity from the Crown was intended to cut through the citizens' misgivings about being held financially responsible for pulling down houses. James and his life guards rode up and down the streets all Monday, rescuing foreigners from the mob and attempting to keep order. "The Duke of York hath won the hearts of the people with his continual and indefatigable pains day and night in helping to quench the Fire," wrote a witness in a letter on 8 September.On Monday evening, hopes were dashed that the massive stone walls of Baynard's Castle, Blackfriars would stay the course of the flames, the western counterpart of the Tower of London. This historic royal palace was completely consumed, burning all night.A contemporary account said that King Charles in person worked manually, that day or later, to help throw water on flames and to help demolish buildings to make a firebreak.
Output: What is the last name of the person who had a brother named James?
Passage: Monday marked the beginning of organised action, even as order broke down in the streets, especially at the gates, and the fire raged unchecked. Bloodworth was responsible as Lord Mayor for co-ordinating the fire-fighting, but he had apparently left the City; his name is not mentioned in any contemporaneous accounts of the Monday's events. In this state of emergency, the King again overrode the City authorities and put his brother James, Duke of York, in charge of operations.
James set up command posts round the perimeter of the fire, press-ganging into teams of well-paid and well-fed firemen any men of the lower classes found in the streets. Three courtiers were put in charge of each post, with authority from Charles himself to order demolitions. This visible gesture of solidarity from the Crown was intended to cut through the citizens' misgivings about being held financially responsible for pulling down houses. James and his life guards rode up and down the streets all Monday, rescuing foreigners from the mob and attempting to keep order. "The Duke of York hath won the hearts of the people with his continual and indefatigable pains day and night in helping to quench the Fire," wrote a witness in a letter on 8 September.On Monday evening, hopes were dashed that the massive stone walls of Baynard's Castle, Blackfriars would stay the course of the flames, the western counterpart of the Tower of London. This historic royal palace was completely consumed, burning all night.A contemporary account said that King Charles in person worked manually, that day or later, to help throw water on flames and to help demolish buildings to make a firebreak.
Output: What is the first name of the person who hath won the hearts of the people with his continual and indefatigable pains day and night?
Passage: Monday marked the beginning of organised action, even as order broke down in the streets, especially at the gates, and the fire raged unchecked. Bloodworth was responsible as Lord Mayor for co-ordinating the fire-fighting, but he had apparently left the City; his name is not mentioned in any contemporaneous accounts of the Monday's events. In this state of emergency, the King again overrode the City authorities and put his brother James, Duke of York, in charge of operations.
James set up command posts round the perimeter of the fire, press-ganging into teams of well-paid and well-fed firemen any men of the lower classes found in the streets. Three courtiers were put in charge of each post, with authority from Charles himself to order demolitions. This visible gesture of solidarity from the Crown was intended to cut through the citizens' misgivings about being held financially responsible for pulling down houses. James and his life guards rode up and down the streets all Monday, rescuing foreigners from the mob and attempting to keep order. "The Duke of York hath won the hearts of the people with his continual and indefatigable pains day and night in helping to quench the Fire," wrote a witness in a letter on 8 September.On Monday evening, hopes were dashed that the massive stone walls of Baynard's Castle, Blackfriars would stay the course of the flames, the western counterpart of the Tower of London. This historic royal palace was completely consumed, burning all night.A contemporary account said that King Charles in person worked manually, that day or later, to help throw water on flames and to help demolish buildings to make a firebreak.
Output: What is the first name of the person who helped to quench the fire?
Passage: Monday marked the beginning of organised action, even as order broke down in the streets, especially at the gates, and the fire raged unchecked. Bloodworth was responsible as Lord Mayor for co-ordinating the fire-fighting, but he had apparently left the City; his name is not mentioned in any contemporaneous accounts of the Monday's events. In this state of emergency, the King again overrode the City authorities and put his brother James, Duke of York, in charge of operations.
James set up command posts round the perimeter of the fire, press-ganging into teams of well-paid and well-fed firemen any men of the lower classes found in the streets. Three courtiers were put in charge of each post, with authority from Charles himself to order demolitions. This visible gesture of solidarity from the Crown was intended to cut through the citizens' misgivings about being held financially responsible for pulling down houses. James and his life guards rode up and down the streets all Monday, rescuing foreigners from the mob and attempting to keep order. "The Duke of York hath won the hearts of the people with his continual and indefatigable pains day and night in helping to quench the Fire," wrote a witness in a letter on 8 September.On Monday evening, hopes were dashed that the massive stone walls of Baynard's Castle, Blackfriars would stay the course of the flames, the western counterpart of the Tower of London. This historic royal palace was completely consumed, burning all night.A contemporary account said that King Charles in person worked manually, that day or later, to help throw water on flames and to help demolish buildings to make a firebreak.
Output: What royal palace burned all night?
Passage: Monday marked the beginning of organised action, even as order broke down in the streets, especially at the gates, and the fire raged unchecked. Bloodworth was responsible as Lord Mayor for co-ordinating the fire-fighting, but he had apparently left the City; his name is not mentioned in any contemporaneous accounts of the Monday's events. In this state of emergency, the King again overrode the City authorities and put his brother James, Duke of York, in charge of operations.
James set up command posts round the perimeter of the fire, press-ganging into teams of well-paid and well-fed firemen any men of the lower classes found in the streets. Three courtiers were put in charge of each post, with authority from Charles himself to order demolitions. This visible gesture of solidarity from the Crown was intended to cut through the citizens' misgivings about being held financially responsible for pulling down houses. James and his life guards rode up and down the streets all Monday, rescuing foreigners from the mob and attempting to keep order. "The Duke of York hath won the hearts of the people with his continual and indefatigable pains day and night in helping to quench the Fire," wrote a witness in a letter on 8 September.On Monday evening, hopes were dashed that the massive stone walls of Baynard's Castle, Blackfriars would stay the course of the flames, the western counterpart of the Tower of London. This historic royal palace was completely consumed, burning all night.A contemporary account said that King Charles in person worked manually, that day or later, to help throw water on flames and to help demolish buildings to make a firebreak.
Output: What is the full name of the person who overrode the City authorities and put James in charge of operations?
Passage: The film is set in a post-apocalyptic future, where Earth's atmosphere has become toxic. Most humans have fled the planet, to live on a space station near Io, a moon of Jupiter. 
Sam Walden is one of the few humans remaining on Earth. She lives alone at high altitude, where the air is still breathable, trying to raise bees that can survive in the atmosphere. Her intent is to use the bees to eventually clean the air via the pollinization of oxygen-producing plants. Her long-distance boyfriend, who lives on the Io station, urges her to leave Earth on the last shuttle from the planet.
A storm creates a toxic cloud that passes through Sam's shelter, apparently killing all of her bees. Micah, a man travelling by helium balloon, arrives shortly thereafter. He intends to reach the launch site and leave Earth, but first wants to speak with Dr. Harry Walden, Sam's father, who had urged mankind to stay because he still saw hope. 
Initially, Sam states that her father is conducting field work elsewhere. However, after a day, she reveals that her father died the previous year. Hearing this, Micah is determined to take Sam with him to the space shuttle, to which she apathetically agrees. After receiving a message from her boyfriend saying goodbye, because he is part of an expedition embarking on a 10-year voyage to an exoplanet orbiting Alpha Centauri, Sam records a message informing everyone still on Earth that Dr. Walden's attempt to clean the planet was ultimately unsuccessful and that everybody should leave to Io.
Output: Who convinces Dr. Walden's daughter to leave Earth?
Passage: The film is set in a post-apocalyptic future, where Earth's atmosphere has become toxic. Most humans have fled the planet, to live on a space station near Io, a moon of Jupiter. 
Sam Walden is one of the few humans remaining on Earth. She lives alone at high altitude, where the air is still breathable, trying to raise bees that can survive in the atmosphere. Her intent is to use the bees to eventually clean the air via the pollinization of oxygen-producing plants. Her long-distance boyfriend, who lives on the Io station, urges her to leave Earth on the last shuttle from the planet.
A storm creates a toxic cloud that passes through Sam's shelter, apparently killing all of her bees. Micah, a man travelling by helium balloon, arrives shortly thereafter. He intends to reach the launch site and leave Earth, but first wants to speak with Dr. Harry Walden, Sam's father, who had urged mankind to stay because he still saw hope. 
Initially, Sam states that her father is conducting field work elsewhere. However, after a day, she reveals that her father died the previous year. Hearing this, Micah is determined to take Sam with him to the space shuttle, to which she apathetically agrees. After receiving a message from her boyfriend saying goodbye, because he is part of an expedition embarking on a 10-year voyage to an exoplanet orbiting Alpha Centauri, Sam records a message informing everyone still on Earth that Dr. Walden's attempt to clean the planet was ultimately unsuccessful and that everybody should leave to Io.
Output: Where will Sam's boyfriend be living for the next 10 years?
Passage: Farmer Al Falfa arrives in New York City by taxi. Yards away, a man with binoculars on a rooftop looks for visitors to rob until setting sights on Al. The man phone calls a femme fatale woman and tells her to meet him. The woman finds and invites Al to come with her to a night club.
At the night club, Al and the woman drink some wine. After consuming two glasses, he becomes intoxicated and collapses. While Al is flat on the floor, the woman heads to his bag, and takes some valuables before running off. Coming out of the bag is Al's dog which barks to wake up its master.
Just after exiting the night club, Al, who still has hangover, decides to lay his back on a lightpost. Momentarily, a hefty man comes and greets him. Figuring he has lots of cash, the hefty man invites and takes Al to the latter's buddies.
Al meets the hefty man's three friends at a poker room who then entice him to a high-stakes poker game. Over the course of the play, Al's stacks of chips become smaller and smaller. One of the poker players then employ an illegal strategy of secretly trying to pass cards to another player. Al, who is suspicious of the game, opens his bag and releases his dog which snatches and brings the cards to him. Al then comes up with a winning combination that garners him all the chips on the table, much to the other players' surprise. The dog then puts out the light, and a brawl erupts. Fortunately for him, Al is able to escape with his winnings.
Riding on a train in style, Al leaves New York City a wealthy man.
Output: What is the full name of the person the man with binoculars set their sights on?
Passage: Farmer Al Falfa arrives in New York City by taxi. Yards away, a man with binoculars on a rooftop looks for visitors to rob until setting sights on Al. The man phone calls a femme fatale woman and tells her to meet him. The woman finds and invites Al to come with her to a night club.
At the night club, Al and the woman drink some wine. After consuming two glasses, he becomes intoxicated and collapses. While Al is flat on the floor, the woman heads to his bag, and takes some valuables before running off. Coming out of the bag is Al's dog which barks to wake up its master.
Just after exiting the night club, Al, who still has hangover, decides to lay his back on a lightpost. Momentarily, a hefty man comes and greets him. Figuring he has lots of cash, the hefty man invites and takes Al to the latter's buddies.
Al meets the hefty man's three friends at a poker room who then entice him to a high-stakes poker game. Over the course of the play, Al's stacks of chips become smaller and smaller. One of the poker players then employ an illegal strategy of secretly trying to pass cards to another player. Al, who is suspicious of the game, opens his bag and releases his dog which snatches and brings the cards to him. Al then comes up with a winning combination that garners him all the chips on the table, much to the other players' surprise. The dog then puts out the light, and a brawl erupts. Fortunately for him, Al is able to escape with his winnings.
Riding on a train in style, Al leaves New York City a wealthy man.
Output: What is the last name of the person who becomes intoxicated and collapses?
Passage: Farmer Al Falfa arrives in New York City by taxi. Yards away, a man with binoculars on a rooftop looks for visitors to rob until setting sights on Al. The man phone calls a femme fatale woman and tells her to meet him. The woman finds and invites Al to come with her to a night club.
At the night club, Al and the woman drink some wine. After consuming two glasses, he becomes intoxicated and collapses. While Al is flat on the floor, the woman heads to his bag, and takes some valuables before running off. Coming out of the bag is Al's dog which barks to wake up its master.
Just after exiting the night club, Al, who still has hangover, decides to lay his back on a lightpost. Momentarily, a hefty man comes and greets him. Figuring he has lots of cash, the hefty man invites and takes Al to the latter's buddies.
Al meets the hefty man's three friends at a poker room who then entice him to a high-stakes poker game. Over the course of the play, Al's stacks of chips become smaller and smaller. One of the poker players then employ an illegal strategy of secretly trying to pass cards to another player. Al, who is suspicious of the game, opens his bag and releases his dog which snatches and brings the cards to him. Al then comes up with a winning combination that garners him all the chips on the table, much to the other players' surprise. The dog then puts out the light, and a brawl erupts. Fortunately for him, Al is able to escape with his winnings.
Riding on a train in style, Al leaves New York City a wealthy man.
Output: Who puts out the light when a brawl erupts?