niryuu/sni-each-converted huggingface dataset:
Passage: iSOLATE is the story of Scout Taylor, a young woman who returns to the family's remote cattle station after the sudden death of her mother. As an only child and with Brian her father suffering from a progressive and debilitating illness, she commits to leaving behind her coffee shop in the city and staying on at the farm to look after him and the property. On the day of her mother's funeral, when all the mourners have left and she and her father are alone, Brian confesses he and her mother had made a pact. He tells Scout that her mother had promised to assist him in taking his own life before his illness would render his body useless, and eventually, painfully steal his last breath. But now, with her mother's tragic death making that impossible, he turns to Scout to help him with his desire to commit suicide.  Enraged by his admission, on this day of all days, Scout reveals that her mother had already tearfully confided the details of his plan some months earlier, a plan that she wasn't as complicit with as he would have liked to believe. Rather than assist his suicide, Scout vows to help her father continue running the property while nursing him to a peaceful and natural death. 
One morning after feeding the horses, Scout returns home to cook her father breakfast only to discover he has disappeared. At first she is not overly concerned, but as the day wears on she begins to fear that in his now fragile state he may have had an accident, or worse. Alone and cut off from all communication, she sets about doing whatever she can to find him.  As night falls, the darkness intensifies her fears, and after exhausting all possible solutions in finding him, she retreats back to the isolation of the house. It is back at the house, alone with her thoughts and conscience, that the reality and horror of this film unfolds, revealing a dramatic and twisting climax.
Output: What does Brian's daughter promise to do while taking care of him until he dies?
Passage: iSOLATE is the story of Scout Taylor, a young woman who returns to the family's remote cattle station after the sudden death of her mother. As an only child and with Brian her father suffering from a progressive and debilitating illness, she commits to leaving behind her coffee shop in the city and staying on at the farm to look after him and the property. On the day of her mother's funeral, when all the mourners have left and she and her father are alone, Brian confesses he and her mother had made a pact. He tells Scout that her mother had promised to assist him in taking his own life before his illness would render his body useless, and eventually, painfully steal his last breath. But now, with her mother's tragic death making that impossible, he turns to Scout to help him with his desire to commit suicide.  Enraged by his admission, on this day of all days, Scout reveals that her mother had already tearfully confided the details of his plan some months earlier, a plan that she wasn't as complicit with as he would have liked to believe. Rather than assist his suicide, Scout vows to help her father continue running the property while nursing him to a peaceful and natural death. 
One morning after feeding the horses, Scout returns home to cook her father breakfast only to discover he has disappeared. At first she is not overly concerned, but as the day wears on she begins to fear that in his now fragile state he may have had an accident, or worse. Alone and cut off from all communication, she sets about doing whatever she can to find him.  As night falls, the darkness intensifies her fears, and after exhausting all possible solutions in finding him, she retreats back to the isolation of the house. It is back at the house, alone with her thoughts and conscience, that the reality and horror of this film unfolds, revealing a dramatic and twisting climax.
Output: What meal was Brian's daughter about to cook when she notices he's missing?
Passage: iSOLATE is the story of Scout Taylor, a young woman who returns to the family's remote cattle station after the sudden death of her mother. As an only child and with Brian her father suffering from a progressive and debilitating illness, she commits to leaving behind her coffee shop in the city and staying on at the farm to look after him and the property. On the day of her mother's funeral, when all the mourners have left and she and her father are alone, Brian confesses he and her mother had made a pact. He tells Scout that her mother had promised to assist him in taking his own life before his illness would render his body useless, and eventually, painfully steal his last breath. But now, with her mother's tragic death making that impossible, he turns to Scout to help him with his desire to commit suicide.  Enraged by his admission, on this day of all days, Scout reveals that her mother had already tearfully confided the details of his plan some months earlier, a plan that she wasn't as complicit with as he would have liked to believe. Rather than assist his suicide, Scout vows to help her father continue running the property while nursing him to a peaceful and natural death. 
One morning after feeding the horses, Scout returns home to cook her father breakfast only to discover he has disappeared. At first she is not overly concerned, but as the day wears on she begins to fear that in his now fragile state he may have had an accident, or worse. Alone and cut off from all communication, she sets about doing whatever she can to find him.  As night falls, the darkness intensifies her fears, and after exhausting all possible solutions in finding him, she retreats back to the isolation of the house. It is back at the house, alone with her thoughts and conscience, that the reality and horror of this film unfolds, revealing a dramatic and twisting climax.
Output: What does Scout exhaust before finally giving up searching for her father and returning home?
Passage: Bernard Chanticleer, called "Big Boy" by his parents, is 19 but still lives with his overbearing, clinging mother and his commanding, disapproving father, who is Curator of Incunabula at the New York Public Library. Bernard also works as a low-level assistant at the library, where his father is constantly monitoring and admonishing him. His father decides it's time he grew up and moved out of the family home in Great Neck and into his own Manhattan apartment. His mother is not happy about letting him go, but acquiesces to her husband and arranges for Bernard to live in a rooming house run by nosy, prudish Miss Nora Thing.  Miss Thing inherited the building on the condition that her late brother's aggressive pet rooster be allowed to occupy the fifth floor, which Bernard must pass to get to his room. Miss Thing reassures Bernard's mother that the rooster only attacks girls, especially young pretty girls, to which Bernard's mother responds that her son isn't interested in girls yet, but arranges that Miss Thing will spy on Bernard and report any "female" activity. Bernard's mother also constantly mails locks of her hair to Bernard at his new residence.
Output: What is the full name of the person whose brother had a pet rooster?
Passage: Bernard Chanticleer, called "Big Boy" by his parents, is 19 but still lives with his overbearing, clinging mother and his commanding, disapproving father, who is Curator of Incunabula at the New York Public Library. Bernard also works as a low-level assistant at the library, where his father is constantly monitoring and admonishing him. His father decides it's time he grew up and moved out of the family home in Great Neck and into his own Manhattan apartment. His mother is not happy about letting him go, but acquiesces to her husband and arranges for Bernard to live in a rooming house run by nosy, prudish Miss Nora Thing.  Miss Thing inherited the building on the condition that her late brother's aggressive pet rooster be allowed to occupy the fifth floor, which Bernard must pass to get to his room. Miss Thing reassures Bernard's mother that the rooster only attacks girls, especially young pretty girls, to which Bernard's mother responds that her son isn't interested in girls yet, but arranges that Miss Thing will spy on Bernard and report any "female" activity. Bernard's mother also constantly mails locks of her hair to Bernard at his new residence.
Output: Who does the father want to move to Manhattan?
Passage: Bernard Chanticleer, called "Big Boy" by his parents, is 19 but still lives with his overbearing, clinging mother and his commanding, disapproving father, who is Curator of Incunabula at the New York Public Library. Bernard also works as a low-level assistant at the library, where his father is constantly monitoring and admonishing him. His father decides it's time he grew up and moved out of the family home in Great Neck and into his own Manhattan apartment. His mother is not happy about letting him go, but acquiesces to her husband and arranges for Bernard to live in a rooming house run by nosy, prudish Miss Nora Thing.  Miss Thing inherited the building on the condition that her late brother's aggressive pet rooster be allowed to occupy the fifth floor, which Bernard must pass to get to his room. Miss Thing reassures Bernard's mother that the rooster only attacks girls, especially young pretty girls, to which Bernard's mother responds that her son isn't interested in girls yet, but arranges that Miss Thing will spy on Bernard and report any "female" activity. Bernard's mother also constantly mails locks of her hair to Bernard at his new residence.
Output: Who is said to not like girls?
Passage: Bernard Chanticleer, called "Big Boy" by his parents, is 19 but still lives with his overbearing, clinging mother and his commanding, disapproving father, who is Curator of Incunabula at the New York Public Library. Bernard also works as a low-level assistant at the library, where his father is constantly monitoring and admonishing him. His father decides it's time he grew up and moved out of the family home in Great Neck and into his own Manhattan apartment. His mother is not happy about letting him go, but acquiesces to her husband and arranges for Bernard to live in a rooming house run by nosy, prudish Miss Nora Thing.  Miss Thing inherited the building on the condition that her late brother's aggressive pet rooster be allowed to occupy the fifth floor, which Bernard must pass to get to his room. Miss Thing reassures Bernard's mother that the rooster only attacks girls, especially young pretty girls, to which Bernard's mother responds that her son isn't interested in girls yet, but arranges that Miss Thing will spy on Bernard and report any "female" activity. Bernard's mother also constantly mails locks of her hair to Bernard at his new residence.
Output: Who wants someone to be a spy?
Passage: Adventurer Johnny Weissmuller is roped in by Egyptian archaeologist Ellen Marsten to traverse the African jungle of Baku. They seek to rescue an acquaintance, Marro, from his captors, pygmies known as the "Moon Men". The Moon Men are devoted to a "Moon Goddess" Oma, who is apparently an immortal whose only weakness is sunlight. Marro is chosen to be Oma's chief religious official.
After being joined by Marsten's friend Bob Prentice, the team of Weissmuller, Marstern, and Prentice, set off for Baku. They find Marro and urge him to escape. However, he dies the moment he steps outside the parameters of the jungle. Interrogating a pygmy Damu, Weissmuller learns that Marro was fed a voodoo potion that would kill him once he tried to escape Baku. Just then, the Moon Men overpower the team and capture them. Prentice is selected to take over Marro's position, while Weissmuller and Marstern are brought to Oma's temple.
There, they are stopped by Santo and his right-hand man Max (Frank Sully). The evil duo command Weissmuller to lead them into the temple. They meet Oma and also find loads of precious stones in the building. Knowing that not everybody can leave Baku, Weissmuller sacrifices himself for the rest. He asks Prentice to contact the police as soon as he gets to the mainland. Santo pockets a large amount of the jewels and turns to flee. The Moon Men stop him, letting loose a pride of vicious lions. Santo and Max are gorily killed, while the rest manage to escape.
Output: Who is the acquaintance of Ellen and Johnny forced to serve?
Passage: Adventurer Johnny Weissmuller is roped in by Egyptian archaeologist Ellen Marsten to traverse the African jungle of Baku. They seek to rescue an acquaintance, Marro, from his captors, pygmies known as the "Moon Men". The Moon Men are devoted to a "Moon Goddess" Oma, who is apparently an immortal whose only weakness is sunlight. Marro is chosen to be Oma's chief religious official.
After being joined by Marsten's friend Bob Prentice, the team of Weissmuller, Marstern, and Prentice, set off for Baku. They find Marro and urge him to escape. However, he dies the moment he steps outside the parameters of the jungle. Interrogating a pygmy Damu, Weissmuller learns that Marro was fed a voodoo potion that would kill him once he tried to escape Baku. Just then, the Moon Men overpower the team and capture them. Prentice is selected to take over Marro's position, while Weissmuller and Marstern are brought to Oma's temple.
There, they are stopped by Santo and his right-hand man Max (Frank Sully). The evil duo command Weissmuller to lead them into the temple. They meet Oma and also find loads of precious stones in the building. Knowing that not everybody can leave Baku, Weissmuller sacrifices himself for the rest. He asks Prentice to contact the police as soon as he gets to the mainland. Santo pockets a large amount of the jewels and turns to flee. The Moon Men stop him, letting loose a pride of vicious lions. Santo and Max are gorily killed, while the rest manage to escape.
Output: Who is the partner of the man who pockets a lot of diamonds?
Passage: Adventurer Johnny Weissmuller is roped in by Egyptian archaeologist Ellen Marsten to traverse the African jungle of Baku. They seek to rescue an acquaintance, Marro, from his captors, pygmies known as the "Moon Men". The Moon Men are devoted to a "Moon Goddess" Oma, who is apparently an immortal whose only weakness is sunlight. Marro is chosen to be Oma's chief religious official.
After being joined by Marsten's friend Bob Prentice, the team of Weissmuller, Marstern, and Prentice, set off for Baku. They find Marro and urge him to escape. However, he dies the moment he steps outside the parameters of the jungle. Interrogating a pygmy Damu, Weissmuller learns that Marro was fed a voodoo potion that would kill him once he tried to escape Baku. Just then, the Moon Men overpower the team and capture them. Prentice is selected to take over Marro's position, while Weissmuller and Marstern are brought to Oma's temple.
There, they are stopped by Santo and his right-hand man Max (Frank Sully). The evil duo command Weissmuller to lead them into the temple. They meet Oma and also find loads of precious stones in the building. Knowing that not everybody can leave Baku, Weissmuller sacrifices himself for the rest. He asks Prentice to contact the police as soon as he gets to the mainland. Santo pockets a large amount of the jewels and turns to flee. The Moon Men stop him, letting loose a pride of vicious lions. Santo and Max are gorily killed, while the rest manage to escape.
Output: What are the full names of the people who urge Marro to escape?
Passage: Adventurer Johnny Weissmuller is roped in by Egyptian archaeologist Ellen Marsten to traverse the African jungle of Baku. They seek to rescue an acquaintance, Marro, from his captors, pygmies known as the "Moon Men". The Moon Men are devoted to a "Moon Goddess" Oma, who is apparently an immortal whose only weakness is sunlight. Marro is chosen to be Oma's chief religious official.
After being joined by Marsten's friend Bob Prentice, the team of Weissmuller, Marstern, and Prentice, set off for Baku. They find Marro and urge him to escape. However, he dies the moment he steps outside the parameters of the jungle. Interrogating a pygmy Damu, Weissmuller learns that Marro was fed a voodoo potion that would kill him once he tried to escape Baku. Just then, the Moon Men overpower the team and capture them. Prentice is selected to take over Marro's position, while Weissmuller and Marstern are brought to Oma's temple.
There, they are stopped by Santo and his right-hand man Max (Frank Sully). The evil duo command Weissmuller to lead them into the temple. They meet Oma and also find loads of precious stones in the building. Knowing that not everybody can leave Baku, Weissmuller sacrifices himself for the rest. He asks Prentice to contact the police as soon as he gets to the mainland. Santo pockets a large amount of the jewels and turns to flee. The Moon Men stop him, letting loose a pride of vicious lions. Santo and Max are gorily killed, while the rest manage to escape.
Output: What are the first names of the people who were captured by the Moon Men?
Passage: Adventurer Johnny Weissmuller is roped in by Egyptian archaeologist Ellen Marsten to traverse the African jungle of Baku. They seek to rescue an acquaintance, Marro, from his captors, pygmies known as the "Moon Men". The Moon Men are devoted to a "Moon Goddess" Oma, who is apparently an immortal whose only weakness is sunlight. Marro is chosen to be Oma's chief religious official.
After being joined by Marsten's friend Bob Prentice, the team of Weissmuller, Marstern, and Prentice, set off for Baku. They find Marro and urge him to escape. However, he dies the moment he steps outside the parameters of the jungle. Interrogating a pygmy Damu, Weissmuller learns that Marro was fed a voodoo potion that would kill him once he tried to escape Baku. Just then, the Moon Men overpower the team and capture them. Prentice is selected to take over Marro's position, while Weissmuller and Marstern are brought to Oma's temple.
There, they are stopped by Santo and his right-hand man Max (Frank Sully). The evil duo command Weissmuller to lead them into the temple. They meet Oma and also find loads of precious stones in the building. Knowing that not everybody can leave Baku, Weissmuller sacrifices himself for the rest. He asks Prentice to contact the police as soon as he gets to the mainland. Santo pockets a large amount of the jewels and turns to flee. The Moon Men stop him, letting loose a pride of vicious lions. Santo and Max are gorily killed, while the rest manage to escape.
Output: What is the first name of the person who asks Prentice to contact police?
Passage: Adventurer Johnny Weissmuller is roped in by Egyptian archaeologist Ellen Marsten to traverse the African jungle of Baku. They seek to rescue an acquaintance, Marro, from his captors, pygmies known as the "Moon Men". The Moon Men are devoted to a "Moon Goddess" Oma, who is apparently an immortal whose only weakness is sunlight. Marro is chosen to be Oma's chief religious official.
After being joined by Marsten's friend Bob Prentice, the team of Weissmuller, Marstern, and Prentice, set off for Baku. They find Marro and urge him to escape. However, he dies the moment he steps outside the parameters of the jungle. Interrogating a pygmy Damu, Weissmuller learns that Marro was fed a voodoo potion that would kill him once he tried to escape Baku. Just then, the Moon Men overpower the team and capture them. Prentice is selected to take over Marro's position, while Weissmuller and Marstern are brought to Oma's temple.
There, they are stopped by Santo and his right-hand man Max (Frank Sully). The evil duo command Weissmuller to lead them into the temple. They meet Oma and also find loads of precious stones in the building. Knowing that not everybody can leave Baku, Weissmuller sacrifices himself for the rest. He asks Prentice to contact the police as soon as he gets to the mainland. Santo pockets a large amount of the jewels and turns to flee. The Moon Men stop him, letting loose a pride of vicious lions. Santo and Max are gorily killed, while the rest manage to escape.
Output: What is the name of the person that chooses the man captured by the pygmies to be her religious official?
Passage: Adventurer Johnny Weissmuller is roped in by Egyptian archaeologist Ellen Marsten to traverse the African jungle of Baku. They seek to rescue an acquaintance, Marro, from his captors, pygmies known as the "Moon Men". The Moon Men are devoted to a "Moon Goddess" Oma, who is apparently an immortal whose only weakness is sunlight. Marro is chosen to be Oma's chief religious official.
After being joined by Marsten's friend Bob Prentice, the team of Weissmuller, Marstern, and Prentice, set off for Baku. They find Marro and urge him to escape. However, he dies the moment he steps outside the parameters of the jungle. Interrogating a pygmy Damu, Weissmuller learns that Marro was fed a voodoo potion that would kill him once he tried to escape Baku. Just then, the Moon Men overpower the team and capture them. Prentice is selected to take over Marro's position, while Weissmuller and Marstern are brought to Oma's temple.
There, they are stopped by Santo and his right-hand man Max (Frank Sully). The evil duo command Weissmuller to lead them into the temple. They meet Oma and also find loads of precious stones in the building. Knowing that not everybody can leave Baku, Weissmuller sacrifices himself for the rest. He asks Prentice to contact the police as soon as he gets to the mainland. Santo pockets a large amount of the jewels and turns to flee. The Moon Men stop him, letting loose a pride of vicious lions. Santo and Max are gorily killed, while the rest manage to escape.
Output: Who stops the adventurer group along with the man that steals a pocket full of jewels?
Passage: Fauré is regarded as one of the masters of the French art song, or mélodie. Ravel wrote in 1922 that Fauré had saved French music from the dominance of the German Lied. Two years later the critic Samuel Langford wrote of Fauré, "More surely almost than any writer in the world he commanded the faculty to create a song all of a piece, and with a sustained intensity of mood which made it like a single thought". In a 2011 article the pianist and writer Roy Howat and the musicologist Emily Kilpatrick wrote:
His devotion to the mélodie spans his career, from the ever-fresh "Le papillon et la fleur" of 1861 to the masterly cycle L'horizon chimérique, composed sixty years and more than a hundred songs later. Fauré's songs are now core repertoire for students and professionals, sung in conservatories and recital halls throughout the world.
In Copland's view, the early songs, written in the 1860s and 1870s under the influence of Gounod, except for isolated songs such as "Après un rêve" or "Au bord de l'eau", show little sign of the artist to come. With the second volume of the sixty collected songs written during the next two decades, Copland judged, came the first mature examples of "the real Fauré". He instanced "Les berceaux", "Les roses d'Ispahan" and especially "Clair de lune" as "so beautiful, so perfect, that they have even penetrated to America", and drew attention to less well known mélodies such as "Le secret", "Nocturne", and "Les présents". Fauré also composed a number of song cycles. Cinq mélodies "de Venise", Op. 58 (1891), was described by Fauré as a novel kind of song suite, in its use of musical themes recurring over the cycle. For the later cycle La bonne chanson, Op. 61 (1894), there were five such themes, according to Fauré. He also wrote that La bonne chanson was his most spontaneous composition, with Emma Bardac singing back to him each day's newly written material.
Output: What is the person that commanded the faculty to create a song all of a piece?
Passage: Fauré is regarded as one of the masters of the French art song, or mélodie. Ravel wrote in 1922 that Fauré had saved French music from the dominance of the German Lied. Two years later the critic Samuel Langford wrote of Fauré, "More surely almost than any writer in the world he commanded the faculty to create a song all of a piece, and with a sustained intensity of mood which made it like a single thought". In a 2011 article the pianist and writer Roy Howat and the musicologist Emily Kilpatrick wrote:
His devotion to the mélodie spans his career, from the ever-fresh "Le papillon et la fleur" of 1861 to the masterly cycle L'horizon chimérique, composed sixty years and more than a hundred songs later. Fauré's songs are now core repertoire for students and professionals, sung in conservatories and recital halls throughout the world.
In Copland's view, the early songs, written in the 1860s and 1870s under the influence of Gounod, except for isolated songs such as "Après un rêve" or "Au bord de l'eau", show little sign of the artist to come. With the second volume of the sixty collected songs written during the next two decades, Copland judged, came the first mature examples of "the real Fauré". He instanced "Les berceaux", "Les roses d'Ispahan" and especially "Clair de lune" as "so beautiful, so perfect, that they have even penetrated to America", and drew attention to less well known mélodies such as "Le secret", "Nocturne", and "Les présents". Fauré also composed a number of song cycles. Cinq mélodies "de Venise", Op. 58 (1891), was described by Fauré as a novel kind of song suite, in its use of musical themes recurring over the cycle. For the later cycle La bonne chanson, Op. 61 (1894), there were five such themes, according to Fauré. He also wrote that La bonne chanson was his most spontaneous composition, with Emma Bardac singing back to him each day's newly written material.
Output: What is the name of the person that created the song Le papillon et la fleur?
Passage: Fauré is regarded as one of the masters of the French art song, or mélodie. Ravel wrote in 1922 that Fauré had saved French music from the dominance of the German Lied. Two years later the critic Samuel Langford wrote of Fauré, "More surely almost than any writer in the world he commanded the faculty to create a song all of a piece, and with a sustained intensity of mood which made it like a single thought". In a 2011 article the pianist and writer Roy Howat and the musicologist Emily Kilpatrick wrote:
His devotion to the mélodie spans his career, from the ever-fresh "Le papillon et la fleur" of 1861 to the masterly cycle L'horizon chimérique, composed sixty years and more than a hundred songs later. Fauré's songs are now core repertoire for students and professionals, sung in conservatories and recital halls throughout the world.
In Copland's view, the early songs, written in the 1860s and 1870s under the influence of Gounod, except for isolated songs such as "Après un rêve" or "Au bord de l'eau", show little sign of the artist to come. With the second volume of the sixty collected songs written during the next two decades, Copland judged, came the first mature examples of "the real Fauré". He instanced "Les berceaux", "Les roses d'Ispahan" and especially "Clair de lune" as "so beautiful, so perfect, that they have even penetrated to America", and drew attention to less well known mélodies such as "Le secret", "Nocturne", and "Les présents". Fauré also composed a number of song cycles. Cinq mélodies "de Venise", Op. 58 (1891), was described by Fauré as a novel kind of song suite, in its use of musical themes recurring over the cycle. For the later cycle La bonne chanson, Op. 61 (1894), there were five such themes, according to Fauré. He also wrote that La bonne chanson was his most spontaneous composition, with Emma Bardac singing back to him each day's newly written material.
Output: What is the name of the person that composed for sixty years?
Passage: Fauré is regarded as one of the masters of the French art song, or mélodie. Ravel wrote in 1922 that Fauré had saved French music from the dominance of the German Lied. Two years later the critic Samuel Langford wrote of Fauré, "More surely almost than any writer in the world he commanded the faculty to create a song all of a piece, and with a sustained intensity of mood which made it like a single thought". In a 2011 article the pianist and writer Roy Howat and the musicologist Emily Kilpatrick wrote:
His devotion to the mélodie spans his career, from the ever-fresh "Le papillon et la fleur" of 1861 to the masterly cycle L'horizon chimérique, composed sixty years and more than a hundred songs later. Fauré's songs are now core repertoire for students and professionals, sung in conservatories and recital halls throughout the world.
In Copland's view, the early songs, written in the 1860s and 1870s under the influence of Gounod, except for isolated songs such as "Après un rêve" or "Au bord de l'eau", show little sign of the artist to come. With the second volume of the sixty collected songs written during the next two decades, Copland judged, came the first mature examples of "the real Fauré". He instanced "Les berceaux", "Les roses d'Ispahan" and especially "Clair de lune" as "so beautiful, so perfect, that they have even penetrated to America", and drew attention to less well known mélodies such as "Le secret", "Nocturne", and "Les présents". Fauré also composed a number of song cycles. Cinq mélodies "de Venise", Op. 58 (1891), was described by Fauré as a novel kind of song suite, in its use of musical themes recurring over the cycle. For the later cycle La bonne chanson, Op. 61 (1894), there were five such themes, according to Fauré. He also wrote that La bonne chanson was his most spontaneous composition, with Emma Bardac singing back to him each day's newly written material.
Output: What is the name of the person that had wrote more than a hundred songs?
Passage: Fauré is regarded as one of the masters of the French art song, or mélodie. Ravel wrote in 1922 that Fauré had saved French music from the dominance of the German Lied. Two years later the critic Samuel Langford wrote of Fauré, "More surely almost than any writer in the world he commanded the faculty to create a song all of a piece, and with a sustained intensity of mood which made it like a single thought". In a 2011 article the pianist and writer Roy Howat and the musicologist Emily Kilpatrick wrote:
His devotion to the mélodie spans his career, from the ever-fresh "Le papillon et la fleur" of 1861 to the masterly cycle L'horizon chimérique, composed sixty years and more than a hundred songs later. Fauré's songs are now core repertoire for students and professionals, sung in conservatories and recital halls throughout the world.
In Copland's view, the early songs, written in the 1860s and 1870s under the influence of Gounod, except for isolated songs such as "Après un rêve" or "Au bord de l'eau", show little sign of the artist to come. With the second volume of the sixty collected songs written during the next two decades, Copland judged, came the first mature examples of "the real Fauré". He instanced "Les berceaux", "Les roses d'Ispahan" and especially "Clair de lune" as "so beautiful, so perfect, that they have even penetrated to America", and drew attention to less well known mélodies such as "Le secret", "Nocturne", and "Les présents". Fauré also composed a number of song cycles. Cinq mélodies "de Venise", Op. 58 (1891), was described by Fauré as a novel kind of song suite, in its use of musical themes recurring over the cycle. For the later cycle La bonne chanson, Op. 61 (1894), there were five such themes, according to Fauré. He also wrote that La bonne chanson was his most spontaneous composition, with Emma Bardac singing back to him each day's newly written material.
Output: What is the name of the person that Gounod influenced?
Passage: Fauré is regarded as one of the masters of the French art song, or mélodie. Ravel wrote in 1922 that Fauré had saved French music from the dominance of the German Lied. Two years later the critic Samuel Langford wrote of Fauré, "More surely almost than any writer in the world he commanded the faculty to create a song all of a piece, and with a sustained intensity of mood which made it like a single thought". In a 2011 article the pianist and writer Roy Howat and the musicologist Emily Kilpatrick wrote:
His devotion to the mélodie spans his career, from the ever-fresh "Le papillon et la fleur" of 1861 to the masterly cycle L'horizon chimérique, composed sixty years and more than a hundred songs later. Fauré's songs are now core repertoire for students and professionals, sung in conservatories and recital halls throughout the world.
In Copland's view, the early songs, written in the 1860s and 1870s under the influence of Gounod, except for isolated songs such as "Après un rêve" or "Au bord de l'eau", show little sign of the artist to come. With the second volume of the sixty collected songs written during the next two decades, Copland judged, came the first mature examples of "the real Fauré". He instanced "Les berceaux", "Les roses d'Ispahan" and especially "Clair de lune" as "so beautiful, so perfect, that they have even penetrated to America", and drew attention to less well known mélodies such as "Le secret", "Nocturne", and "Les présents". Fauré also composed a number of song cycles. Cinq mélodies "de Venise", Op. 58 (1891), was described by Fauré as a novel kind of song suite, in its use of musical themes recurring over the cycle. For the later cycle La bonne chanson, Op. 61 (1894), there were five such themes, according to Fauré. He also wrote that La bonne chanson was his most spontaneous composition, with Emma Bardac singing back to him each day's newly written material.
Output: What is the name of the person that wrote "Les berceaux"?
Passage: Fauré is regarded as one of the masters of the French art song, or mélodie. Ravel wrote in 1922 that Fauré had saved French music from the dominance of the German Lied. Two years later the critic Samuel Langford wrote of Fauré, "More surely almost than any writer in the world he commanded the faculty to create a song all of a piece, and with a sustained intensity of mood which made it like a single thought". In a 2011 article the pianist and writer Roy Howat and the musicologist Emily Kilpatrick wrote:
His devotion to the mélodie spans his career, from the ever-fresh "Le papillon et la fleur" of 1861 to the masterly cycle L'horizon chimérique, composed sixty years and more than a hundred songs later. Fauré's songs are now core repertoire for students and professionals, sung in conservatories and recital halls throughout the world.
In Copland's view, the early songs, written in the 1860s and 1870s under the influence of Gounod, except for isolated songs such as "Après un rêve" or "Au bord de l'eau", show little sign of the artist to come. With the second volume of the sixty collected songs written during the next two decades, Copland judged, came the first mature examples of "the real Fauré". He instanced "Les berceaux", "Les roses d'Ispahan" and especially "Clair de lune" as "so beautiful, so perfect, that they have even penetrated to America", and drew attention to less well known mélodies such as "Le secret", "Nocturne", and "Les présents". Fauré also composed a number of song cycles. Cinq mélodies "de Venise", Op. 58 (1891), was described by Fauré as a novel kind of song suite, in its use of musical themes recurring over the cycle. For the later cycle La bonne chanson, Op. 61 (1894), there were five such themes, according to Fauré. He also wrote that La bonne chanson was his most spontaneous composition, with Emma Bardac singing back to him each day's newly written material.
Output: What is the name of the peson that wrote "Clair de lune"?
Passage: Fauré is regarded as one of the masters of the French art song, or mélodie. Ravel wrote in 1922 that Fauré had saved French music from the dominance of the German Lied. Two years later the critic Samuel Langford wrote of Fauré, "More surely almost than any writer in the world he commanded the faculty to create a song all of a piece, and with a sustained intensity of mood which made it like a single thought". In a 2011 article the pianist and writer Roy Howat and the musicologist Emily Kilpatrick wrote:
His devotion to the mélodie spans his career, from the ever-fresh "Le papillon et la fleur" of 1861 to the masterly cycle L'horizon chimérique, composed sixty years and more than a hundred songs later. Fauré's songs are now core repertoire for students and professionals, sung in conservatories and recital halls throughout the world.
In Copland's view, the early songs, written in the 1860s and 1870s under the influence of Gounod, except for isolated songs such as "Après un rêve" or "Au bord de l'eau", show little sign of the artist to come. With the second volume of the sixty collected songs written during the next two decades, Copland judged, came the first mature examples of "the real Fauré". He instanced "Les berceaux", "Les roses d'Ispahan" and especially "Clair de lune" as "so beautiful, so perfect, that they have even penetrated to America", and drew attention to less well known mélodies such as "Le secret", "Nocturne", and "Les présents". Fauré also composed a number of song cycles. Cinq mélodies "de Venise", Op. 58 (1891), was described by Fauré as a novel kind of song suite, in its use of musical themes recurring over the cycle. For the later cycle La bonne chanson, Op. 61 (1894), there were five such themes, according to Fauré. He also wrote that La bonne chanson was his most spontaneous composition, with Emma Bardac singing back to him each day's newly written material.
Output: What was the name of Fauré most spontaneous composition?
Passage: Fauré is regarded as one of the masters of the French art song, or mélodie. Ravel wrote in 1922 that Fauré had saved French music from the dominance of the German Lied. Two years later the critic Samuel Langford wrote of Fauré, "More surely almost than any writer in the world he commanded the faculty to create a song all of a piece, and with a sustained intensity of mood which made it like a single thought". In a 2011 article the pianist and writer Roy Howat and the musicologist Emily Kilpatrick wrote:
His devotion to the mélodie spans his career, from the ever-fresh "Le papillon et la fleur" of 1861 to the masterly cycle L'horizon chimérique, composed sixty years and more than a hundred songs later. Fauré's songs are now core repertoire for students and professionals, sung in conservatories and recital halls throughout the world.
In Copland's view, the early songs, written in the 1860s and 1870s under the influence of Gounod, except for isolated songs such as "Après un rêve" or "Au bord de l'eau", show little sign of the artist to come. With the second volume of the sixty collected songs written during the next two decades, Copland judged, came the first mature examples of "the real Fauré". He instanced "Les berceaux", "Les roses d'Ispahan" and especially "Clair de lune" as "so beautiful, so perfect, that they have even penetrated to America", and drew attention to less well known mélodies such as "Le secret", "Nocturne", and "Les présents". Fauré also composed a number of song cycles. Cinq mélodies "de Venise", Op. 58 (1891), was described by Fauré as a novel kind of song suite, in its use of musical themes recurring over the cycle. For the later cycle La bonne chanson, Op. 61 (1894), there were five such themes, according to Fauré. He also wrote that La bonne chanson was his most spontaneous composition, with Emma Bardac singing back to him each day's newly written material.
Output: What is the full name of the person that helped Fauré  with La bonne chanson?
Passage: Fauré is regarded as one of the masters of the French art song, or mélodie. Ravel wrote in 1922 that Fauré had saved French music from the dominance of the German Lied. Two years later the critic Samuel Langford wrote of Fauré, "More surely almost than any writer in the world he commanded the faculty to create a song all of a piece, and with a sustained intensity of mood which made it like a single thought". In a 2011 article the pianist and writer Roy Howat and the musicologist Emily Kilpatrick wrote:
His devotion to the mélodie spans his career, from the ever-fresh "Le papillon et la fleur" of 1861 to the masterly cycle L'horizon chimérique, composed sixty years and more than a hundred songs later. Fauré's songs are now core repertoire for students and professionals, sung in conservatories and recital halls throughout the world.
In Copland's view, the early songs, written in the 1860s and 1870s under the influence of Gounod, except for isolated songs such as "Après un rêve" or "Au bord de l'eau", show little sign of the artist to come. With the second volume of the sixty collected songs written during the next two decades, Copland judged, came the first mature examples of "the real Fauré". He instanced "Les berceaux", "Les roses d'Ispahan" and especially "Clair de lune" as "so beautiful, so perfect, that they have even penetrated to America", and drew attention to less well known mélodies such as "Le secret", "Nocturne", and "Les présents". Fauré also composed a number of song cycles. Cinq mélodies "de Venise", Op. 58 (1891), was described by Fauré as a novel kind of song suite, in its use of musical themes recurring over the cycle. For the later cycle La bonne chanson, Op. 61 (1894), there were five such themes, according to Fauré. He also wrote that La bonne chanson was his most spontaneous composition, with Emma Bardac singing back to him each day's newly written material.
Output: What is the name of the person that described Clair de lune as "so beautiful, so perfect, that they have even penetrated to America"?
Passage: After World War II, returning veterans Fred Derry, Homer Parrish, and Al Stephenson meet while flying home to Boone City. Fred is returning from Europe as a decorated captain and bombardier from the Eighth Air Force. Homer was a petty officer in the Seventh Fleet when he lost both hands from burns suffered when his ship was sunk, and now uses mechanical hook prostheses. Al served with the 25th Infantry Division as a platoon sergeant in the Pacific. All three have trouble adjusting to civilian life.
Al is a banker with a comfortable home and a loving family: wife Milly, adult daughter Peggy, and high-school student son Rob. He is promoted to Vice President in charge of small loans, as the president views his military experience as valuable in dealing with other returning servicemen. When Al approves an unsecured loan to a young Navy veteran, the president advises him against making a habit of it. Later, at a banquet in his honor, a slightly inebriated Al expounds that the bank (and America) must stand with the vets and give them every chance to rebuild their lives.
Fred, once an unskilled drugstore soda jerk, wants something better, but the tight post-war job market forces him to return to his old job. Fred had met Marie while in flight training and married her shortly afterward, before shipping out less than a month later. She became a nightclub waitress while Fred was overseas. Marie makes it clear she does not enjoy being married to a lowly soda jerk.
Homer was a high school football quarterback and became engaged to his next door neighbor, Wilma, before joining the Navy. Homer and his parents now have trouble dealing with his disability. He does not want to burden Wilma with his handicap so he eventually pushes her away, although she still wants to marry him.
Output: Who lives next to the man with a mechanical hook prostheses?
Passage: After World War II, returning veterans Fred Derry, Homer Parrish, and Al Stephenson meet while flying home to Boone City. Fred is returning from Europe as a decorated captain and bombardier from the Eighth Air Force. Homer was a petty officer in the Seventh Fleet when he lost both hands from burns suffered when his ship was sunk, and now uses mechanical hook prostheses. Al served with the 25th Infantry Division as a platoon sergeant in the Pacific. All three have trouble adjusting to civilian life.
Al is a banker with a comfortable home and a loving family: wife Milly, adult daughter Peggy, and high-school student son Rob. He is promoted to Vice President in charge of small loans, as the president views his military experience as valuable in dealing with other returning servicemen. When Al approves an unsecured loan to a young Navy veteran, the president advises him against making a habit of it. Later, at a banquet in his honor, a slightly inebriated Al expounds that the bank (and America) must stand with the vets and give them every chance to rebuild their lives.
Fred, once an unskilled drugstore soda jerk, wants something better, but the tight post-war job market forces him to return to his old job. Fred had met Marie while in flight training and married her shortly afterward, before shipping out less than a month later. She became a nightclub waitress while Fred was overseas. Marie makes it clear she does not enjoy being married to a lowly soda jerk.
Homer was a high school football quarterback and became engaged to his next door neighbor, Wilma, before joining the Navy. Homer and his parents now have trouble dealing with his disability. He does not want to burden Wilma with his handicap so he eventually pushes her away, although she still wants to marry him.
Output: Who was the man without hands going to marry?
Passage: After World War II, returning veterans Fred Derry, Homer Parrish, and Al Stephenson meet while flying home to Boone City. Fred is returning from Europe as a decorated captain and bombardier from the Eighth Air Force. Homer was a petty officer in the Seventh Fleet when he lost both hands from burns suffered when his ship was sunk, and now uses mechanical hook prostheses. Al served with the 25th Infantry Division as a platoon sergeant in the Pacific. All three have trouble adjusting to civilian life.
Al is a banker with a comfortable home and a loving family: wife Milly, adult daughter Peggy, and high-school student son Rob. He is promoted to Vice President in charge of small loans, as the president views his military experience as valuable in dealing with other returning servicemen. When Al approves an unsecured loan to a young Navy veteran, the president advises him against making a habit of it. Later, at a banquet in his honor, a slightly inebriated Al expounds that the bank (and America) must stand with the vets and give them every chance to rebuild their lives.
Fred, once an unskilled drugstore soda jerk, wants something better, but the tight post-war job market forces him to return to his old job. Fred had met Marie while in flight training and married her shortly afterward, before shipping out less than a month later. She became a nightclub waitress while Fred was overseas. Marie makes it clear she does not enjoy being married to a lowly soda jerk.
Homer was a high school football quarterback and became engaged to his next door neighbor, Wilma, before joining the Navy. Homer and his parents now have trouble dealing with his disability. He does not want to burden Wilma with his handicap so he eventually pushes her away, although she still wants to marry him.
Output: What does the bombardier's wife become while he's gone?