niryuu/sni-each-converted huggingface dataset:
Passage: Yarralumla is a large inner south suburb of Canberra, the capital city of Australia. Located approximately 3.5 kilometres (2.2 mi) south-west of the city, Yarralumla extends along the south-west bank of Lake Burley Griffin. (The lake was created after the Second World War through the blocking, with a dam, of the Molonglo River.)
In 1828, Henry Donnison, a Sydney merchant, was granted a lease on the western side of Stirling Ridge. Donnison's land was named Yarralumla in a survey of the area conducted in 1834, apparently after the indigenous people's term for the area. It was also spelt Yarrolumla in other documents. In 1881, the estate was bought by Frederick Campbell, grandson of Robert Campbell who built nearby "Duntroon". He completed the construction of a large, gabled, brick house on his property in 1891 that now serves as the site of Government House, the official residence of the Governor-General of Australia. Campbell's house replaced an elegant, Georgian-style homestead, the main portions of which were erected from local stone in the 1830s. Among the old Yarralumla homestead's most notable occupants were Sir Terence Aubrey Murray, who owned Yarralumla sheep station from 1837 to 1859, Augustus Onslow Manby Gibbes, who owned the property from 1859 to 1881, and Augustus' father Colonel John George Nathaniel Gibbes (1787–1873). (Augustus "Gussie" Gibbes was Murray's brother-in-law; he also advanced money to Frederick Campbell to assist with the construction, in 1890–1891, of Campbell's grand new family house at Yarralumla.)
The modern suburb of Yarralumla was gazetted by the government in 1928 and as of 2011 was home to approximately 3,000 people and many diplomatic missions. In recent years, it has become one of Canberra's most desirable and expensive residential suburbs because of its wide leafy streets, attractive lakeside setting and central location.
Output: What is the first name of the person whose house replaced an elegant, Georgian-style homestead?
Passage: Yarralumla is a large inner south suburb of Canberra, the capital city of Australia. Located approximately 3.5 kilometres (2.2 mi) south-west of the city, Yarralumla extends along the south-west bank of Lake Burley Griffin. (The lake was created after the Second World War through the blocking, with a dam, of the Molonglo River.)
In 1828, Henry Donnison, a Sydney merchant, was granted a lease on the western side of Stirling Ridge. Donnison's land was named Yarralumla in a survey of the area conducted in 1834, apparently after the indigenous people's term for the area. It was also spelt Yarrolumla in other documents. In 1881, the estate was bought by Frederick Campbell, grandson of Robert Campbell who built nearby "Duntroon". He completed the construction of a large, gabled, brick house on his property in 1891 that now serves as the site of Government House, the official residence of the Governor-General of Australia. Campbell's house replaced an elegant, Georgian-style homestead, the main portions of which were erected from local stone in the 1830s. Among the old Yarralumla homestead's most notable occupants were Sir Terence Aubrey Murray, who owned Yarralumla sheep station from 1837 to 1859, Augustus Onslow Manby Gibbes, who owned the property from 1859 to 1881, and Augustus' father Colonel John George Nathaniel Gibbes (1787–1873). (Augustus "Gussie" Gibbes was Murray's brother-in-law; he also advanced money to Frederick Campbell to assist with the construction, in 1890–1891, of Campbell's grand new family house at Yarralumla.)
The modern suburb of Yarralumla was gazetted by the government in 1928 and as of 2011 was home to approximately 3,000 people and many diplomatic missions. In recent years, it has become one of Canberra's most desirable and expensive residential suburbs because of its wide leafy streets, attractive lakeside setting and central location.
Output: What is the full name of Colonel Gibbes's son?
Passage: From the age of six and for the rest of his life Saint-Saëns composed mélodies, writing more than 140. He regarded his songs as thoroughly and typically French, denying any influence from Schubert or other German composers of Lieder. Unlike his protégé Fauré, or his rival Massenet, he was not drawn to the song cycle, writing only two during his long career – Mélodies persanes ("Persian Songs", 1870) and Le Cendre rouge ("The Red Ash Tree", 1914, dedicated to Fauré). The poet whose works he set most often was Victor Hugo; others included Alphonse de Lamartine, Pierre Corneille, Amable Tastu, and, in eight songs, Saint-Saëns himself: among his many non-musical talents he was an amateur poet. He was highly sensitive to word setting, and told the young composer Lili Boulanger that to write songs effectively musical talent was not enough: "you must study the French language in depth; it is indispensable." Most of the mélodies are written for piano accompaniment, but a few, including "Le lever du soleil sur le Nil" ("Sunrise over the Nile", 1898) and "Hymne à la paix" ("Hymn to Peace", 1919), are for voice and orchestra. His settings, and chosen verses, are generally traditional in form, contrasting with the free verse and less structured forms of a later generation of French composers, including Debussy.Saint-Saëns composed more than sixty sacred vocal works, ranging from motets to masses and oratorios. Among the larger-scale compositions are the Requiem (1878) and the oratorios Le déluge (1875) and The Promised Land (1913) with an English text by Herman Klein. He was proud of his connection with British choirs, commenting, "One likes to be appreciated in the home, par excellence, of oratorio." He wrote a smaller number of secular choral works, some for unaccompanied choir, some with piano accompaniment and some with full orchestra. In his choral works, Saint-Saëns drew heavily on tradition, feeling that his models should be Handel, Mendelssohn and other earlier masters of the genre. In Klein's view, this approach was old-fashioned, and the familiarity of Saint-Saëns's treatment of the oratorio form impeded his success in it.
Output: What were the names of the two people, who unlike Saint-Saëns, were drawn to the song cycle?
Passage: From the age of six and for the rest of his life Saint-Saëns composed mélodies, writing more than 140. He regarded his songs as thoroughly and typically French, denying any influence from Schubert or other German composers of Lieder. Unlike his protégé Fauré, or his rival Massenet, he was not drawn to the song cycle, writing only two during his long career – Mélodies persanes ("Persian Songs", 1870) and Le Cendre rouge ("The Red Ash Tree", 1914, dedicated to Fauré). The poet whose works he set most often was Victor Hugo; others included Alphonse de Lamartine, Pierre Corneille, Amable Tastu, and, in eight songs, Saint-Saëns himself: among his many non-musical talents he was an amateur poet. He was highly sensitive to word setting, and told the young composer Lili Boulanger that to write songs effectively musical talent was not enough: "you must study the French language in depth; it is indispensable." Most of the mélodies are written for piano accompaniment, but a few, including "Le lever du soleil sur le Nil" ("Sunrise over the Nile", 1898) and "Hymne à la paix" ("Hymn to Peace", 1919), are for voice and orchestra. His settings, and chosen verses, are generally traditional in form, contrasting with the free verse and less structured forms of a later generation of French composers, including Debussy.Saint-Saëns composed more than sixty sacred vocal works, ranging from motets to masses and oratorios. Among the larger-scale compositions are the Requiem (1878) and the oratorios Le déluge (1875) and The Promised Land (1913) with an English text by Herman Klein. He was proud of his connection with British choirs, commenting, "One likes to be appreciated in the home, par excellence, of oratorio." He wrote a smaller number of secular choral works, some for unaccompanied choir, some with piano accompaniment and some with full orchestra. In his choral works, Saint-Saëns drew heavily on tradition, feeling that his models should be Handel, Mendelssohn and other earlier masters of the genre. In Klein's view, this approach was old-fashioned, and the familiarity of Saint-Saëns's treatment of the oratorio form impeded his success in it.
Output: What were the names of the two songs Saint-Saëns wrote during his career?
Passage: From the age of six and for the rest of his life Saint-Saëns composed mélodies, writing more than 140. He regarded his songs as thoroughly and typically French, denying any influence from Schubert or other German composers of Lieder. Unlike his protégé Fauré, or his rival Massenet, he was not drawn to the song cycle, writing only two during his long career – Mélodies persanes ("Persian Songs", 1870) and Le Cendre rouge ("The Red Ash Tree", 1914, dedicated to Fauré). The poet whose works he set most often was Victor Hugo; others included Alphonse de Lamartine, Pierre Corneille, Amable Tastu, and, in eight songs, Saint-Saëns himself: among his many non-musical talents he was an amateur poet. He was highly sensitive to word setting, and told the young composer Lili Boulanger that to write songs effectively musical talent was not enough: "you must study the French language in depth; it is indispensable." Most of the mélodies are written for piano accompaniment, but a few, including "Le lever du soleil sur le Nil" ("Sunrise over the Nile", 1898) and "Hymne à la paix" ("Hymn to Peace", 1919), are for voice and orchestra. His settings, and chosen verses, are generally traditional in form, contrasting with the free verse and less structured forms of a later generation of French composers, including Debussy.Saint-Saëns composed more than sixty sacred vocal works, ranging from motets to masses and oratorios. Among the larger-scale compositions are the Requiem (1878) and the oratorios Le déluge (1875) and The Promised Land (1913) with an English text by Herman Klein. He was proud of his connection with British choirs, commenting, "One likes to be appreciated in the home, par excellence, of oratorio." He wrote a smaller number of secular choral works, some for unaccompanied choir, some with piano accompaniment and some with full orchestra. In his choral works, Saint-Saëns drew heavily on tradition, feeling that his models should be Handel, Mendelssohn and other earlier masters of the genre. In Klein's view, this approach was old-fashioned, and the familiarity of Saint-Saëns's treatment of the oratorio form impeded his success in it.
Output: What was the name of the song dedicated to Fauré?
Passage: From the age of six and for the rest of his life Saint-Saëns composed mélodies, writing more than 140. He regarded his songs as thoroughly and typically French, denying any influence from Schubert or other German composers of Lieder. Unlike his protégé Fauré, or his rival Massenet, he was not drawn to the song cycle, writing only two during his long career – Mélodies persanes ("Persian Songs", 1870) and Le Cendre rouge ("The Red Ash Tree", 1914, dedicated to Fauré). The poet whose works he set most often was Victor Hugo; others included Alphonse de Lamartine, Pierre Corneille, Amable Tastu, and, in eight songs, Saint-Saëns himself: among his many non-musical talents he was an amateur poet. He was highly sensitive to word setting, and told the young composer Lili Boulanger that to write songs effectively musical talent was not enough: "you must study the French language in depth; it is indispensable." Most of the mélodies are written for piano accompaniment, but a few, including "Le lever du soleil sur le Nil" ("Sunrise over the Nile", 1898) and "Hymne à la paix" ("Hymn to Peace", 1919), are for voice and orchestra. His settings, and chosen verses, are generally traditional in form, contrasting with the free verse and less structured forms of a later generation of French composers, including Debussy.Saint-Saëns composed more than sixty sacred vocal works, ranging from motets to masses and oratorios. Among the larger-scale compositions are the Requiem (1878) and the oratorios Le déluge (1875) and The Promised Land (1913) with an English text by Herman Klein. He was proud of his connection with British choirs, commenting, "One likes to be appreciated in the home, par excellence, of oratorio." He wrote a smaller number of secular choral works, some for unaccompanied choir, some with piano accompaniment and some with full orchestra. In his choral works, Saint-Saëns drew heavily on tradition, feeling that his models should be Handel, Mendelssohn and other earlier masters of the genre. In Klein's view, this approach was old-fashioned, and the familiarity of Saint-Saëns's treatment of the oratorio form impeded his success in it.
Output: What were the names of the melodies written for voice and orchestra?
Passage: From the age of six and for the rest of his life Saint-Saëns composed mélodies, writing more than 140. He regarded his songs as thoroughly and typically French, denying any influence from Schubert or other German composers of Lieder. Unlike his protégé Fauré, or his rival Massenet, he was not drawn to the song cycle, writing only two during his long career – Mélodies persanes ("Persian Songs", 1870) and Le Cendre rouge ("The Red Ash Tree", 1914, dedicated to Fauré). The poet whose works he set most often was Victor Hugo; others included Alphonse de Lamartine, Pierre Corneille, Amable Tastu, and, in eight songs, Saint-Saëns himself: among his many non-musical talents he was an amateur poet. He was highly sensitive to word setting, and told the young composer Lili Boulanger that to write songs effectively musical talent was not enough: "you must study the French language in depth; it is indispensable." Most of the mélodies are written for piano accompaniment, but a few, including "Le lever du soleil sur le Nil" ("Sunrise over the Nile", 1898) and "Hymne à la paix" ("Hymn to Peace", 1919), are for voice and orchestra. His settings, and chosen verses, are generally traditional in form, contrasting with the free verse and less structured forms of a later generation of French composers, including Debussy.Saint-Saëns composed more than sixty sacred vocal works, ranging from motets to masses and oratorios. Among the larger-scale compositions are the Requiem (1878) and the oratorios Le déluge (1875) and The Promised Land (1913) with an English text by Herman Klein. He was proud of his connection with British choirs, commenting, "One likes to be appreciated in the home, par excellence, of oratorio." He wrote a smaller number of secular choral works, some for unaccompanied choir, some with piano accompaniment and some with full orchestra. In his choral works, Saint-Saëns drew heavily on tradition, feeling that his models should be Handel, Mendelssohn and other earlier masters of the genre. In Klein's view, this approach was old-fashioned, and the familiarity of Saint-Saëns's treatment of the oratorio form impeded his success in it.
Output: What were the full names of poets whose works Saint-Saëns set often from?
Passage: From the age of six and for the rest of his life Saint-Saëns composed mélodies, writing more than 140. He regarded his songs as thoroughly and typically French, denying any influence from Schubert or other German composers of Lieder. Unlike his protégé Fauré, or his rival Massenet, he was not drawn to the song cycle, writing only two during his long career – Mélodies persanes ("Persian Songs", 1870) and Le Cendre rouge ("The Red Ash Tree", 1914, dedicated to Fauré). The poet whose works he set most often was Victor Hugo; others included Alphonse de Lamartine, Pierre Corneille, Amable Tastu, and, in eight songs, Saint-Saëns himself: among his many non-musical talents he was an amateur poet. He was highly sensitive to word setting, and told the young composer Lili Boulanger that to write songs effectively musical talent was not enough: "you must study the French language in depth; it is indispensable." Most of the mélodies are written for piano accompaniment, but a few, including "Le lever du soleil sur le Nil" ("Sunrise over the Nile", 1898) and "Hymne à la paix" ("Hymn to Peace", 1919), are for voice and orchestra. His settings, and chosen verses, are generally traditional in form, contrasting with the free verse and less structured forms of a later generation of French composers, including Debussy.Saint-Saëns composed more than sixty sacred vocal works, ranging from motets to masses and oratorios. Among the larger-scale compositions are the Requiem (1878) and the oratorios Le déluge (1875) and The Promised Land (1913) with an English text by Herman Klein. He was proud of his connection with British choirs, commenting, "One likes to be appreciated in the home, par excellence, of oratorio." He wrote a smaller number of secular choral works, some for unaccompanied choir, some with piano accompaniment and some with full orchestra. In his choral works, Saint-Saëns drew heavily on tradition, feeling that his models should be Handel, Mendelssohn and other earlier masters of the genre. In Klein's view, this approach was old-fashioned, and the familiarity of Saint-Saëns's treatment of the oratorio form impeded his success in it.
Output: What were the names of Saint-Saëns larger-scale compositions?
Passage: From the age of six and for the rest of his life Saint-Saëns composed mélodies, writing more than 140. He regarded his songs as thoroughly and typically French, denying any influence from Schubert or other German composers of Lieder. Unlike his protégé Fauré, or his rival Massenet, he was not drawn to the song cycle, writing only two during his long career – Mélodies persanes ("Persian Songs", 1870) and Le Cendre rouge ("The Red Ash Tree", 1914, dedicated to Fauré). The poet whose works he set most often was Victor Hugo; others included Alphonse de Lamartine, Pierre Corneille, Amable Tastu, and, in eight songs, Saint-Saëns himself: among his many non-musical talents he was an amateur poet. He was highly sensitive to word setting, and told the young composer Lili Boulanger that to write songs effectively musical talent was not enough: "you must study the French language in depth; it is indispensable." Most of the mélodies are written for piano accompaniment, but a few, including "Le lever du soleil sur le Nil" ("Sunrise over the Nile", 1898) and "Hymne à la paix" ("Hymn to Peace", 1919), are for voice and orchestra. His settings, and chosen verses, are generally traditional in form, contrasting with the free verse and less structured forms of a later generation of French composers, including Debussy.Saint-Saëns composed more than sixty sacred vocal works, ranging from motets to masses and oratorios. Among the larger-scale compositions are the Requiem (1878) and the oratorios Le déluge (1875) and The Promised Land (1913) with an English text by Herman Klein. He was proud of his connection with British choirs, commenting, "One likes to be appreciated in the home, par excellence, of oratorio." He wrote a smaller number of secular choral works, some for unaccompanied choir, some with piano accompaniment and some with full orchestra. In his choral works, Saint-Saëns drew heavily on tradition, feeling that his models should be Handel, Mendelssohn and other earlier masters of the genre. In Klein's view, this approach was old-fashioned, and the familiarity of Saint-Saëns's treatment of the oratorio form impeded his success in it.
Output: What were the names of the two people Saint-Saëns modeled after their traditional genre?
Passage: Edward Dalyngrigge was a younger son and thus deprived of his father's estates through the practice of primogeniture, hence he had to make his own fortunes. By 1378, he owned the manor of Bodiam by marrying into a land-owning family. From 1379 to 1388, Dalyngrigge was a Knight of the Shire for Sussex and one of the most influential people in the county. By the time he applied to the king for a licence to crenellate (build a castle), the Hundred Years' War had been fought between England and France for nearly 50 years. Edward III of England (reigned 1327–1377) pressed his claim for the French throne and secured the territories of Aquitaine and Calais. Dalyngrigge was one of many Englishmen who travelled to France to seek their fortune as members of Free Companies – groups of mercenaries who fought for the highest bidder. He left for France in 1367 and journeyed with Lionel, Duke of Clarence and son of Edward III. After fighting under the Earl of Arundel, Dalyngrigge joined the company of Sir Robert Knolles, a notorious commander who was reputed to have made 100,000 gold crowns as a mercenary from pillage and plunder. It was as a member of the Free Companies that Dalyngrigge raised the money to build Bodiam Castle; he returned to England in 1377.The Treaty of Bruges (1375) ensured peace for two years, but after it expired, fighting resumed between England and France. In 1377 Edward III was succeeded by Richard II. During the war, England and France struggled for control of the English Channel, with raids on both coasts. With the renewed hostilities, Parliament voted that money should be spent on defending and fortifying England's south coast, and defences were erected in Kent in anticipation of a French invasion. There was internal unrest as well as external threats, and Dalyngrigge was involved in suppressing the Peasants' Revolt of 1381. The manor of Bodiam was granted a charter in 1383 permitting a weekly market and an annual fair to be held. In 1385, a fleet of 1,200 ships – variously cogs, barges, and galleys – gathered across the English Channel at Sluys, Flanders; the population of southern England was in a state of panic. Later in the year, Edward Dalyngrigge was granted a licence to fortify his manor house.
Output: What is the last name of the person who had to make his own fortunes?
Passage: Edward Dalyngrigge was a younger son and thus deprived of his father's estates through the practice of primogeniture, hence he had to make his own fortunes. By 1378, he owned the manor of Bodiam by marrying into a land-owning family. From 1379 to 1388, Dalyngrigge was a Knight of the Shire for Sussex and one of the most influential people in the county. By the time he applied to the king for a licence to crenellate (build a castle), the Hundred Years' War had been fought between England and France for nearly 50 years. Edward III of England (reigned 1327–1377) pressed his claim for the French throne and secured the territories of Aquitaine and Calais. Dalyngrigge was one of many Englishmen who travelled to France to seek their fortune as members of Free Companies – groups of mercenaries who fought for the highest bidder. He left for France in 1367 and journeyed with Lionel, Duke of Clarence and son of Edward III. After fighting under the Earl of Arundel, Dalyngrigge joined the company of Sir Robert Knolles, a notorious commander who was reputed to have made 100,000 gold crowns as a mercenary from pillage and plunder. It was as a member of the Free Companies that Dalyngrigge raised the money to build Bodiam Castle; he returned to England in 1377.The Treaty of Bruges (1375) ensured peace for two years, but after it expired, fighting resumed between England and France. In 1377 Edward III was succeeded by Richard II. During the war, England and France struggled for control of the English Channel, with raids on both coasts. With the renewed hostilities, Parliament voted that money should be spent on defending and fortifying England's south coast, and defences were erected in Kent in anticipation of a French invasion. There was internal unrest as well as external threats, and Dalyngrigge was involved in suppressing the Peasants' Revolt of 1381. The manor of Bodiam was granted a charter in 1383 permitting a weekly market and an annual fair to be held. In 1385, a fleet of 1,200 ships – variously cogs, barges, and galleys – gathered across the English Channel at Sluys, Flanders; the population of southern England was in a state of panic. Later in the year, Edward Dalyngrigge was granted a licence to fortify his manor house.
Output: What is the last name of the person who owned the manor of Bodiam by 1378?
Passage: Edward Dalyngrigge was a younger son and thus deprived of his father's estates through the practice of primogeniture, hence he had to make his own fortunes. By 1378, he owned the manor of Bodiam by marrying into a land-owning family. From 1379 to 1388, Dalyngrigge was a Knight of the Shire for Sussex and one of the most influential people in the county. By the time he applied to the king for a licence to crenellate (build a castle), the Hundred Years' War had been fought between England and France for nearly 50 years. Edward III of England (reigned 1327–1377) pressed his claim for the French throne and secured the territories of Aquitaine and Calais. Dalyngrigge was one of many Englishmen who travelled to France to seek their fortune as members of Free Companies – groups of mercenaries who fought for the highest bidder. He left for France in 1367 and journeyed with Lionel, Duke of Clarence and son of Edward III. After fighting under the Earl of Arundel, Dalyngrigge joined the company of Sir Robert Knolles, a notorious commander who was reputed to have made 100,000 gold crowns as a mercenary from pillage and plunder. It was as a member of the Free Companies that Dalyngrigge raised the money to build Bodiam Castle; he returned to England in 1377.The Treaty of Bruges (1375) ensured peace for two years, but after it expired, fighting resumed between England and France. In 1377 Edward III was succeeded by Richard II. During the war, England and France struggled for control of the English Channel, with raids on both coasts. With the renewed hostilities, Parliament voted that money should be spent on defending and fortifying England's south coast, and defences were erected in Kent in anticipation of a French invasion. There was internal unrest as well as external threats, and Dalyngrigge was involved in suppressing the Peasants' Revolt of 1381. The manor of Bodiam was granted a charter in 1383 permitting a weekly market and an annual fair to be held. In 1385, a fleet of 1,200 ships – variously cogs, barges, and galleys – gathered across the English Channel at Sluys, Flanders; the population of southern England was in a state of panic. Later in the year, Edward Dalyngrigge was granted a licence to fortify his manor house.
Output: What is the last name of the person who married into a land-owning family?
Passage: Edward Dalyngrigge was a younger son and thus deprived of his father's estates through the practice of primogeniture, hence he had to make his own fortunes. By 1378, he owned the manor of Bodiam by marrying into a land-owning family. From 1379 to 1388, Dalyngrigge was a Knight of the Shire for Sussex and one of the most influential people in the county. By the time he applied to the king for a licence to crenellate (build a castle), the Hundred Years' War had been fought between England and France for nearly 50 years. Edward III of England (reigned 1327–1377) pressed his claim for the French throne and secured the territories of Aquitaine and Calais. Dalyngrigge was one of many Englishmen who travelled to France to seek their fortune as members of Free Companies – groups of mercenaries who fought for the highest bidder. He left for France in 1367 and journeyed with Lionel, Duke of Clarence and son of Edward III. After fighting under the Earl of Arundel, Dalyngrigge joined the company of Sir Robert Knolles, a notorious commander who was reputed to have made 100,000 gold crowns as a mercenary from pillage and plunder. It was as a member of the Free Companies that Dalyngrigge raised the money to build Bodiam Castle; he returned to England in 1377.The Treaty of Bruges (1375) ensured peace for two years, but after it expired, fighting resumed between England and France. In 1377 Edward III was succeeded by Richard II. During the war, England and France struggled for control of the English Channel, with raids on both coasts. With the renewed hostilities, Parliament voted that money should be spent on defending and fortifying England's south coast, and defences were erected in Kent in anticipation of a French invasion. There was internal unrest as well as external threats, and Dalyngrigge was involved in suppressing the Peasants' Revolt of 1381. The manor of Bodiam was granted a charter in 1383 permitting a weekly market and an annual fair to be held. In 1385, a fleet of 1,200 ships – variously cogs, barges, and galleys – gathered across the English Channel at Sluys, Flanders; the population of southern England was in a state of panic. Later in the year, Edward Dalyngrigge was granted a licence to fortify his manor house.
Output: What is the last name of the person who left for France in 1367?
Passage: Edward Dalyngrigge was a younger son and thus deprived of his father's estates through the practice of primogeniture, hence he had to make his own fortunes. By 1378, he owned the manor of Bodiam by marrying into a land-owning family. From 1379 to 1388, Dalyngrigge was a Knight of the Shire for Sussex and one of the most influential people in the county. By the time he applied to the king for a licence to crenellate (build a castle), the Hundred Years' War had been fought between England and France for nearly 50 years. Edward III of England (reigned 1327–1377) pressed his claim for the French throne and secured the territories of Aquitaine and Calais. Dalyngrigge was one of many Englishmen who travelled to France to seek their fortune as members of Free Companies – groups of mercenaries who fought for the highest bidder. He left for France in 1367 and journeyed with Lionel, Duke of Clarence and son of Edward III. After fighting under the Earl of Arundel, Dalyngrigge joined the company of Sir Robert Knolles, a notorious commander who was reputed to have made 100,000 gold crowns as a mercenary from pillage and plunder. It was as a member of the Free Companies that Dalyngrigge raised the money to build Bodiam Castle; he returned to England in 1377.The Treaty of Bruges (1375) ensured peace for two years, but after it expired, fighting resumed between England and France. In 1377 Edward III was succeeded by Richard II. During the war, England and France struggled for control of the English Channel, with raids on both coasts. With the renewed hostilities, Parliament voted that money should be spent on defending and fortifying England's south coast, and defences were erected in Kent in anticipation of a French invasion. There was internal unrest as well as external threats, and Dalyngrigge was involved in suppressing the Peasants' Revolt of 1381. The manor of Bodiam was granted a charter in 1383 permitting a weekly market and an annual fair to be held. In 1385, a fleet of 1,200 ships – variously cogs, barges, and galleys – gathered across the English Channel at Sluys, Flanders; the population of southern England was in a state of panic. Later in the year, Edward Dalyngrigge was granted a licence to fortify his manor house.
Output: What is the last name of the person who journeyed with Lionel, Duke of Clarence?
Passage: Edward Dalyngrigge was a younger son and thus deprived of his father's estates through the practice of primogeniture, hence he had to make his own fortunes. By 1378, he owned the manor of Bodiam by marrying into a land-owning family. From 1379 to 1388, Dalyngrigge was a Knight of the Shire for Sussex and one of the most influential people in the county. By the time he applied to the king for a licence to crenellate (build a castle), the Hundred Years' War had been fought between England and France for nearly 50 years. Edward III of England (reigned 1327–1377) pressed his claim for the French throne and secured the territories of Aquitaine and Calais. Dalyngrigge was one of many Englishmen who travelled to France to seek their fortune as members of Free Companies – groups of mercenaries who fought for the highest bidder. He left for France in 1367 and journeyed with Lionel, Duke of Clarence and son of Edward III. After fighting under the Earl of Arundel, Dalyngrigge joined the company of Sir Robert Knolles, a notorious commander who was reputed to have made 100,000 gold crowns as a mercenary from pillage and plunder. It was as a member of the Free Companies that Dalyngrigge raised the money to build Bodiam Castle; he returned to England in 1377.The Treaty of Bruges (1375) ensured peace for two years, but after it expired, fighting resumed between England and France. In 1377 Edward III was succeeded by Richard II. During the war, England and France struggled for control of the English Channel, with raids on both coasts. With the renewed hostilities, Parliament voted that money should be spent on defending and fortifying England's south coast, and defences were erected in Kent in anticipation of a French invasion. There was internal unrest as well as external threats, and Dalyngrigge was involved in suppressing the Peasants' Revolt of 1381. The manor of Bodiam was granted a charter in 1383 permitting a weekly market and an annual fair to be held. In 1385, a fleet of 1,200 ships – variously cogs, barges, and galleys – gathered across the English Channel at Sluys, Flanders; the population of southern England was in a state of panic. Later in the year, Edward Dalyngrigge was granted a licence to fortify his manor house.
Output: What is the last name of the person who returned to England in 1377?
Passage: Edward Dalyngrigge was a younger son and thus deprived of his father's estates through the practice of primogeniture, hence he had to make his own fortunes. By 1378, he owned the manor of Bodiam by marrying into a land-owning family. From 1379 to 1388, Dalyngrigge was a Knight of the Shire for Sussex and one of the most influential people in the county. By the time he applied to the king for a licence to crenellate (build a castle), the Hundred Years' War had been fought between England and France for nearly 50 years. Edward III of England (reigned 1327–1377) pressed his claim for the French throne and secured the territories of Aquitaine and Calais. Dalyngrigge was one of many Englishmen who travelled to France to seek their fortune as members of Free Companies – groups of mercenaries who fought for the highest bidder. He left for France in 1367 and journeyed with Lionel, Duke of Clarence and son of Edward III. After fighting under the Earl of Arundel, Dalyngrigge joined the company of Sir Robert Knolles, a notorious commander who was reputed to have made 100,000 gold crowns as a mercenary from pillage and plunder. It was as a member of the Free Companies that Dalyngrigge raised the money to build Bodiam Castle; he returned to England in 1377.The Treaty of Bruges (1375) ensured peace for two years, but after it expired, fighting resumed between England and France. In 1377 Edward III was succeeded by Richard II. During the war, England and France struggled for control of the English Channel, with raids on both coasts. With the renewed hostilities, Parliament voted that money should be spent on defending and fortifying England's south coast, and defences were erected in Kent in anticipation of a French invasion. There was internal unrest as well as external threats, and Dalyngrigge was involved in suppressing the Peasants' Revolt of 1381. The manor of Bodiam was granted a charter in 1383 permitting a weekly market and an annual fair to be held. In 1385, a fleet of 1,200 ships – variously cogs, barges, and galleys – gathered across the English Channel at Sluys, Flanders; the population of southern England was in a state of panic. Later in the year, Edward Dalyngrigge was granted a licence to fortify his manor house.
Output: What is the last name of the person whose father had estates?
Passage: Edward Dalyngrigge was a younger son and thus deprived of his father's estates through the practice of primogeniture, hence he had to make his own fortunes. By 1378, he owned the manor of Bodiam by marrying into a land-owning family. From 1379 to 1388, Dalyngrigge was a Knight of the Shire for Sussex and one of the most influential people in the county. By the time he applied to the king for a licence to crenellate (build a castle), the Hundred Years' War had been fought between England and France for nearly 50 years. Edward III of England (reigned 1327–1377) pressed his claim for the French throne and secured the territories of Aquitaine and Calais. Dalyngrigge was one of many Englishmen who travelled to France to seek their fortune as members of Free Companies – groups of mercenaries who fought for the highest bidder. He left for France in 1367 and journeyed with Lionel, Duke of Clarence and son of Edward III. After fighting under the Earl of Arundel, Dalyngrigge joined the company of Sir Robert Knolles, a notorious commander who was reputed to have made 100,000 gold crowns as a mercenary from pillage and plunder. It was as a member of the Free Companies that Dalyngrigge raised the money to build Bodiam Castle; he returned to England in 1377.The Treaty of Bruges (1375) ensured peace for two years, but after it expired, fighting resumed between England and France. In 1377 Edward III was succeeded by Richard II. During the war, England and France struggled for control of the English Channel, with raids on both coasts. With the renewed hostilities, Parliament voted that money should be spent on defending and fortifying England's south coast, and defences were erected in Kent in anticipation of a French invasion. There was internal unrest as well as external threats, and Dalyngrigge was involved in suppressing the Peasants' Revolt of 1381. The manor of Bodiam was granted a charter in 1383 permitting a weekly market and an annual fair to be held. In 1385, a fleet of 1,200 ships – variously cogs, barges, and galleys – gathered across the English Channel at Sluys, Flanders; the population of southern England was in a state of panic. Later in the year, Edward Dalyngrigge was granted a licence to fortify his manor house.
Output: What expired?
Passage: Actress Georgia Hines is released from alcohol rehab and returns to her Manhattan apartment and her supportive friends: Jimmy, a gay unemployed actor, and Toby, a sophisticated socialite. She tells them she will maintain her sobriety and slowly ease back into theatre work.
Soon after, Georgia's teenaged daughter Polly, who has been living with her father and her new stepmother, asks if she could move in with her mother. Georgia agrees, although not confident that she is ready.
Georgia receives a phonecall from her ex-lover, writer David Lowe, who asks if they can meet. With a renewed sense of confidence, she strongly refuses and hangs up.
Polly discusses her personal suffering due to Georgia's alcoholism, foremost not being allowed to grow up with her mother.
Georgia's feels more confidence, even calling David to apologize and agreeing to meet him for dinner. At dinner, David presents his new script, based on their turbulent, alcohol-filled relationship. He wants Georgia to play the lead/herself. Furious that David brought her there for business, Georgia makes a scene. He calmly asks her to reconsider and she finally laughs, and takes the script home.
The reunion between Georgia and Polly is turning out to be a success. They go shopping together, flirt with college-aged boys who mistake them for sisters, then happily recount their adventure to Jimmy. They surprise him with a musical number Polly's been working on for a school show. In the middle of their performance, Georgia abruptly stops to take a call from David, leaving Jimmy and Polly to sit in silence.
Georgia shines in rehearsals. When she Georgia confuses art with life during a scene and loses her composure, David consoles her and tells her that she is the only one who can do this part, tenderly kissing her on the cheek as he exits.
Output: What does Polly's mom do for a living?
Passage: Actress Georgia Hines is released from alcohol rehab and returns to her Manhattan apartment and her supportive friends: Jimmy, a gay unemployed actor, and Toby, a sophisticated socialite. She tells them she will maintain her sobriety and slowly ease back into theatre work.
Soon after, Georgia's teenaged daughter Polly, who has been living with her father and her new stepmother, asks if she could move in with her mother. Georgia agrees, although not confident that she is ready.
Georgia receives a phonecall from her ex-lover, writer David Lowe, who asks if they can meet. With a renewed sense of confidence, she strongly refuses and hangs up.
Polly discusses her personal suffering due to Georgia's alcoholism, foremost not being allowed to grow up with her mother.
Georgia's feels more confidence, even calling David to apologize and agreeing to meet him for dinner. At dinner, David presents his new script, based on their turbulent, alcohol-filled relationship. He wants Georgia to play the lead/herself. Furious that David brought her there for business, Georgia makes a scene. He calmly asks her to reconsider and she finally laughs, and takes the script home.
The reunion between Georgia and Polly is turning out to be a success. They go shopping together, flirt with college-aged boys who mistake them for sisters, then happily recount their adventure to Jimmy. They surprise him with a musical number Polly's been working on for a school show. In the middle of their performance, Georgia abruptly stops to take a call from David, leaving Jimmy and Polly to sit in silence.
Georgia shines in rehearsals. When she Georgia confuses art with life during a scene and loses her composure, David consoles her and tells her that she is the only one who can do this part, tenderly kissing her on the cheek as he exits.
Output: Whose former lover has written a script?
Passage: Actress Georgia Hines is released from alcohol rehab and returns to her Manhattan apartment and her supportive friends: Jimmy, a gay unemployed actor, and Toby, a sophisticated socialite. She tells them she will maintain her sobriety and slowly ease back into theatre work.
Soon after, Georgia's teenaged daughter Polly, who has been living with her father and her new stepmother, asks if she could move in with her mother. Georgia agrees, although not confident that she is ready.
Georgia receives a phonecall from her ex-lover, writer David Lowe, who asks if they can meet. With a renewed sense of confidence, she strongly refuses and hangs up.
Polly discusses her personal suffering due to Georgia's alcoholism, foremost not being allowed to grow up with her mother.
Georgia's feels more confidence, even calling David to apologize and agreeing to meet him for dinner. At dinner, David presents his new script, based on their turbulent, alcohol-filled relationship. He wants Georgia to play the lead/herself. Furious that David brought her there for business, Georgia makes a scene. He calmly asks her to reconsider and she finally laughs, and takes the script home.
The reunion between Georgia and Polly is turning out to be a success. They go shopping together, flirt with college-aged boys who mistake them for sisters, then happily recount their adventure to Jimmy. They surprise him with a musical number Polly's been working on for a school show. In the middle of their performance, Georgia abruptly stops to take a call from David, leaving Jimmy and Polly to sit in silence.
Georgia shines in rehearsals. When she Georgia confuses art with life during a scene and loses her composure, David consoles her and tells her that she is the only one who can do this part, tenderly kissing her on the cheek as he exits.
Output: What's the identity of the first role that Georgia is offered after leaving rehab?
Passage: Actress Georgia Hines is released from alcohol rehab and returns to her Manhattan apartment and her supportive friends: Jimmy, a gay unemployed actor, and Toby, a sophisticated socialite. She tells them she will maintain her sobriety and slowly ease back into theatre work.
Soon after, Georgia's teenaged daughter Polly, who has been living with her father and her new stepmother, asks if she could move in with her mother. Georgia agrees, although not confident that she is ready.
Georgia receives a phonecall from her ex-lover, writer David Lowe, who asks if they can meet. With a renewed sense of confidence, she strongly refuses and hangs up.
Polly discusses her personal suffering due to Georgia's alcoholism, foremost not being allowed to grow up with her mother.
Georgia's feels more confidence, even calling David to apologize and agreeing to meet him for dinner. At dinner, David presents his new script, based on their turbulent, alcohol-filled relationship. He wants Georgia to play the lead/herself. Furious that David brought her there for business, Georgia makes a scene. He calmly asks her to reconsider and she finally laughs, and takes the script home.
The reunion between Georgia and Polly is turning out to be a success. They go shopping together, flirt with college-aged boys who mistake them for sisters, then happily recount their adventure to Jimmy. They surprise him with a musical number Polly's been working on for a school show. In the middle of their performance, Georgia abruptly stops to take a call from David, leaving Jimmy and Polly to sit in silence.
Georgia shines in rehearsals. When she Georgia confuses art with life during a scene and loses her composure, David consoles her and tells her that she is the only one who can do this part, tenderly kissing her on the cheek as he exits.
Output: Who do the college boys take to be Polly's sister?
Passage: Actress Georgia Hines is released from alcohol rehab and returns to her Manhattan apartment and her supportive friends: Jimmy, a gay unemployed actor, and Toby, a sophisticated socialite. She tells them she will maintain her sobriety and slowly ease back into theatre work.
Soon after, Georgia's teenaged daughter Polly, who has been living with her father and her new stepmother, asks if she could move in with her mother. Georgia agrees, although not confident that she is ready.
Georgia receives a phonecall from her ex-lover, writer David Lowe, who asks if they can meet. With a renewed sense of confidence, she strongly refuses and hangs up.
Polly discusses her personal suffering due to Georgia's alcoholism, foremost not being allowed to grow up with her mother.
Georgia's feels more confidence, even calling David to apologize and agreeing to meet him for dinner. At dinner, David presents his new script, based on their turbulent, alcohol-filled relationship. He wants Georgia to play the lead/herself. Furious that David brought her there for business, Georgia makes a scene. He calmly asks her to reconsider and she finally laughs, and takes the script home.
The reunion between Georgia and Polly is turning out to be a success. They go shopping together, flirt with college-aged boys who mistake them for sisters, then happily recount their adventure to Jimmy. They surprise him with a musical number Polly's been working on for a school show. In the middle of their performance, Georgia abruptly stops to take a call from David, leaving Jimmy and Polly to sit in silence.
Georgia shines in rehearsals. When she Georgia confuses art with life during a scene and loses her composure, David consoles her and tells her that she is the only one who can do this part, tenderly kissing her on the cheek as he exits.
Output: Who is the only person who can play the part in David's script?