niryuu/sni-each-converted huggingface dataset:
Passage: James Weddell was an Anglo-Scottish seaman who saw service in both the Royal Navy and the merchant marine before undertaking his first voyages to Antarctic waters. In 1819, in command of the 160-ton brigantine Jane which had been adapted for whaling, he set sail for the newly discovered whaling grounds of the South Sandwich Islands. His chief interest on this voyage was in finding the "Aurora Islands", which had been reported at 53°S, 48°W by the Spanish ship Aurora in 1762.  He failed to discover this non-existent land, but his sealing activities showed a handsome profit.
In 1822 Weddell, again in command of Jane and this time accompanied by the smaller ship Beaufort, set sail for the south with instructions from his employers that, should the sealing prove barren, he was to "investigate beyond the track of former navigators". This suited Weddell's exploring instincts, and he equipped his vessel with chronometers, thermometers, compasses, barometers and charts. In January 1823 he probed the waters between the South Sandwich Islands and the South Orkney Islands, looking for new land. Finding none, he turned southward down the 40°W meridian, deep into the sea that now bears his name. The season was unusually calm, and Weddell reported that "not a particle of ice of any description was to be seen". On 20 February 1823, he reached a new Farthest South of 74°15'S, three degrees beyond Cook's former record.  Unaware that he was close to land, Weddell decided to return northward from this point, convinced that the sea continued as far as the South Pole.
Another two days' sailing would likely have brought him within sight of Coats Land, which was not discovered until 1904, by William Speirs Bruce during the Scottish National Antarctic Expedition, 1902–04. On his return to England, Weddell's claim to have exceeded Cook's record by such a margin "caused some raised eyebrows", but was soon accepted.
Output: What is the last name of the person who failed to discover the non-existent Aurora Islands?
Passage: James Weddell was an Anglo-Scottish seaman who saw service in both the Royal Navy and the merchant marine before undertaking his first voyages to Antarctic waters. In 1819, in command of the 160-ton brigantine Jane which had been adapted for whaling, he set sail for the newly discovered whaling grounds of the South Sandwich Islands. His chief interest on this voyage was in finding the "Aurora Islands", which had been reported at 53°S, 48°W by the Spanish ship Aurora in 1762.  He failed to discover this non-existent land, but his sealing activities showed a handsome profit.
In 1822 Weddell, again in command of Jane and this time accompanied by the smaller ship Beaufort, set sail for the south with instructions from his employers that, should the sealing prove barren, he was to "investigate beyond the track of former navigators". This suited Weddell's exploring instincts, and he equipped his vessel with chronometers, thermometers, compasses, barometers and charts. In January 1823 he probed the waters between the South Sandwich Islands and the South Orkney Islands, looking for new land. Finding none, he turned southward down the 40°W meridian, deep into the sea that now bears his name. The season was unusually calm, and Weddell reported that "not a particle of ice of any description was to be seen". On 20 February 1823, he reached a new Farthest South of 74°15'S, three degrees beyond Cook's former record.  Unaware that he was close to land, Weddell decided to return northward from this point, convinced that the sea continued as far as the South Pole.
Another two days' sailing would likely have brought him within sight of Coats Land, which was not discovered until 1904, by William Speirs Bruce during the Scottish National Antarctic Expedition, 1902–04. On his return to England, Weddell's claim to have exceeded Cook's record by such a margin "caused some raised eyebrows", but was soon accepted.
Output: What is the last name of the person whose sealing activities showed a handsome profit?
Passage: James Weddell was an Anglo-Scottish seaman who saw service in both the Royal Navy and the merchant marine before undertaking his first voyages to Antarctic waters. In 1819, in command of the 160-ton brigantine Jane which had been adapted for whaling, he set sail for the newly discovered whaling grounds of the South Sandwich Islands. His chief interest on this voyage was in finding the "Aurora Islands", which had been reported at 53°S, 48°W by the Spanish ship Aurora in 1762.  He failed to discover this non-existent land, but his sealing activities showed a handsome profit.
In 1822 Weddell, again in command of Jane and this time accompanied by the smaller ship Beaufort, set sail for the south with instructions from his employers that, should the sealing prove barren, he was to "investigate beyond the track of former navigators". This suited Weddell's exploring instincts, and he equipped his vessel with chronometers, thermometers, compasses, barometers and charts. In January 1823 he probed the waters between the South Sandwich Islands and the South Orkney Islands, looking for new land. Finding none, he turned southward down the 40°W meridian, deep into the sea that now bears his name. The season was unusually calm, and Weddell reported that "not a particle of ice of any description was to be seen". On 20 February 1823, he reached a new Farthest South of 74°15'S, three degrees beyond Cook's former record.  Unaware that he was close to land, Weddell decided to return northward from this point, convinced that the sea continued as far as the South Pole.
Another two days' sailing would likely have brought him within sight of Coats Land, which was not discovered until 1904, by William Speirs Bruce during the Scottish National Antarctic Expedition, 1902–04. On his return to England, Weddell's claim to have exceeded Cook's record by such a margin "caused some raised eyebrows", but was soon accepted.
Output: What is the first name name of the person who was instructed to "investigate beyond the track of former navigators" by his employers?
Passage: James Weddell was an Anglo-Scottish seaman who saw service in both the Royal Navy and the merchant marine before undertaking his first voyages to Antarctic waters. In 1819, in command of the 160-ton brigantine Jane which had been adapted for whaling, he set sail for the newly discovered whaling grounds of the South Sandwich Islands. His chief interest on this voyage was in finding the "Aurora Islands", which had been reported at 53°S, 48°W by the Spanish ship Aurora in 1762.  He failed to discover this non-existent land, but his sealing activities showed a handsome profit.
In 1822 Weddell, again in command of Jane and this time accompanied by the smaller ship Beaufort, set sail for the south with instructions from his employers that, should the sealing prove barren, he was to "investigate beyond the track of former navigators". This suited Weddell's exploring instincts, and he equipped his vessel with chronometers, thermometers, compasses, barometers and charts. In January 1823 he probed the waters between the South Sandwich Islands and the South Orkney Islands, looking for new land. Finding none, he turned southward down the 40°W meridian, deep into the sea that now bears his name. The season was unusually calm, and Weddell reported that "not a particle of ice of any description was to be seen". On 20 February 1823, he reached a new Farthest South of 74°15'S, three degrees beyond Cook's former record.  Unaware that he was close to land, Weddell decided to return northward from this point, convinced that the sea continued as far as the South Pole.
Another two days' sailing would likely have brought him within sight of Coats Land, which was not discovered until 1904, by William Speirs Bruce during the Scottish National Antarctic Expedition, 1902–04. On his return to England, Weddell's claim to have exceeded Cook's record by such a margin "caused some raised eyebrows", but was soon accepted.
Output: What is the first name of the person who probed the waters between the South Sandwich Islands and the South Orkney Islands, looking for new land?
Passage: James Weddell was an Anglo-Scottish seaman who saw service in both the Royal Navy and the merchant marine before undertaking his first voyages to Antarctic waters. In 1819, in command of the 160-ton brigantine Jane which had been adapted for whaling, he set sail for the newly discovered whaling grounds of the South Sandwich Islands. His chief interest on this voyage was in finding the "Aurora Islands", which had been reported at 53°S, 48°W by the Spanish ship Aurora in 1762.  He failed to discover this non-existent land, but his sealing activities showed a handsome profit.
In 1822 Weddell, again in command of Jane and this time accompanied by the smaller ship Beaufort, set sail for the south with instructions from his employers that, should the sealing prove barren, he was to "investigate beyond the track of former navigators". This suited Weddell's exploring instincts, and he equipped his vessel with chronometers, thermometers, compasses, barometers and charts. In January 1823 he probed the waters between the South Sandwich Islands and the South Orkney Islands, looking for new land. Finding none, he turned southward down the 40°W meridian, deep into the sea that now bears his name. The season was unusually calm, and Weddell reported that "not a particle of ice of any description was to be seen". On 20 February 1823, he reached a new Farthest South of 74°15'S, three degrees beyond Cook's former record.  Unaware that he was close to land, Weddell decided to return northward from this point, convinced that the sea continued as far as the South Pole.
Another two days' sailing would likely have brought him within sight of Coats Land, which was not discovered until 1904, by William Speirs Bruce during the Scottish National Antarctic Expedition, 1902–04. On his return to England, Weddell's claim to have exceeded Cook's record by such a margin "caused some raised eyebrows", but was soon accepted.
Output: What is the last name of the person who turned southward down the 40°W meridian, deep into the sea that now bears his name?
Passage: James Weddell was an Anglo-Scottish seaman who saw service in both the Royal Navy and the merchant marine before undertaking his first voyages to Antarctic waters. In 1819, in command of the 160-ton brigantine Jane which had been adapted for whaling, he set sail for the newly discovered whaling grounds of the South Sandwich Islands. His chief interest on this voyage was in finding the "Aurora Islands", which had been reported at 53°S, 48°W by the Spanish ship Aurora in 1762.  He failed to discover this non-existent land, but his sealing activities showed a handsome profit.
In 1822 Weddell, again in command of Jane and this time accompanied by the smaller ship Beaufort, set sail for the south with instructions from his employers that, should the sealing prove barren, he was to "investigate beyond the track of former navigators". This suited Weddell's exploring instincts, and he equipped his vessel with chronometers, thermometers, compasses, barometers and charts. In January 1823 he probed the waters between the South Sandwich Islands and the South Orkney Islands, looking for new land. Finding none, he turned southward down the 40°W meridian, deep into the sea that now bears his name. The season was unusually calm, and Weddell reported that "not a particle of ice of any description was to be seen". On 20 February 1823, he reached a new Farthest South of 74°15'S, three degrees beyond Cook's former record.  Unaware that he was close to land, Weddell decided to return northward from this point, convinced that the sea continued as far as the South Pole.
Another two days' sailing would likely have brought him within sight of Coats Land, which was not discovered until 1904, by William Speirs Bruce during the Scottish National Antarctic Expedition, 1902–04. On his return to England, Weddell's claim to have exceeded Cook's record by such a margin "caused some raised eyebrows", but was soon accepted.
Output: What is the first name of the person for whom two days' sailing would likely have brought him within sight of Coats Land?
Passage: James Weddell was an Anglo-Scottish seaman who saw service in both the Royal Navy and the merchant marine before undertaking his first voyages to Antarctic waters. In 1819, in command of the 160-ton brigantine Jane which had been adapted for whaling, he set sail for the newly discovered whaling grounds of the South Sandwich Islands. His chief interest on this voyage was in finding the "Aurora Islands", which had been reported at 53°S, 48°W by the Spanish ship Aurora in 1762.  He failed to discover this non-existent land, but his sealing activities showed a handsome profit.
In 1822 Weddell, again in command of Jane and this time accompanied by the smaller ship Beaufort, set sail for the south with instructions from his employers that, should the sealing prove barren, he was to "investigate beyond the track of former navigators". This suited Weddell's exploring instincts, and he equipped his vessel with chronometers, thermometers, compasses, barometers and charts. In January 1823 he probed the waters between the South Sandwich Islands and the South Orkney Islands, looking for new land. Finding none, he turned southward down the 40°W meridian, deep into the sea that now bears his name. The season was unusually calm, and Weddell reported that "not a particle of ice of any description was to be seen". On 20 February 1823, he reached a new Farthest South of 74°15'S, three degrees beyond Cook's former record.  Unaware that he was close to land, Weddell decided to return northward from this point, convinced that the sea continued as far as the South Pole.
Another two days' sailing would likely have brought him within sight of Coats Land, which was not discovered until 1904, by William Speirs Bruce during the Scottish National Antarctic Expedition, 1902–04. On his return to England, Weddell's claim to have exceeded Cook's record by such a margin "caused some raised eyebrows", but was soon accepted.
Output: What is the precise latitude measurement from which Weddell decided to return northward, convinced that the sea continued as far as the South Pole?
Passage: In philosophy, Chinese Buddhism had waned in influence but it retained its hold on the arts and on the charities of monasteries. Buddhism had a profound influence upon the budding movement of Neo-Confucianism, led by Cheng Yi (1033–1107) and Zhu Xi (1130–1200). Mahayana Buddhism influenced Fan Zhongyan and Wang Anshi through its concept of ethical universalism, while Buddhist metaphysics deeply affected the pre–Neo-Confucian doctrine of Cheng Yi. The philosophical work of Cheng Yi in turn influenced Zhu Xi. Although his writings were not accepted by his contemporary peers, Zhu's commentary and emphasis upon the Confucian classics of the Four Books as an introductory corpus to Confucian learning formed the basis of the Neo-Confucian doctrine. By the year 1241, under the sponsorship of Emperor Lizong, Zhu Xi's Four Books and his commentary on them became standard requirements of study for students attempting to pass the civil service examinations. The East Asian countries of Japan and Korea also adopted Zhu Xi's teaching, known as the Shushigaku (朱子學, School of Zhu Xi) of Japan, and in Korea the Jujahak (주자학). Buddhism's continuing influence can be seen in painted artwork such as Lin Tinggui's Luohan Laundering. However, the ideology was highly criticized and even scorned by some. The statesman and historian Ouyang Xiu (1007–1072) called the religion a "curse" that could only be remedied by uprooting it from Chinese culture and replacing it with Confucian discourse. A true revival of Buddhism in Chinese society would not occur until the Mongol rule of the Yuan dynasty, with Kublai Khan's sponsorship of Tibetan Buddhism and Drogön Chögyal Phagpa as the leading lama. The Christian sect of Nestorianism, which had entered China in the Tang era, would also be revived in China under Mongol rule.
Output: What religion did Ouyang Xiu call a curse?
Passage: On February 7, 2012, Metallica announced that it would start a new music festival called Orion Music + More, which took place on June 23 and 24, 2012, in Atlantic City. Metallica also confirmed that it would headline the festival on both days and would perform two of its most critically acclaimed albums in their entirety: The Black Album on one night, and Ride the Lightning on the other. In a July 2012 interview with Canadian radio station 99.3 The Fox, Ulrich said Metallica would not release its new album until at least early 2014. In November 2012, Metallica left Warner Bros. Records and launched an independent record label, Blackened Recordings, which will produce the band's future releases. The band has acquired the rights to all of its studio albums, which will be reissued through the new label. Blackened releases will be licensed through Warner subsidiary Rhino Entertainment in North America and internationally through Universal Music. On September 20, 2012, Metallica announced via its official website that a new DVD containing footage of shows it performed in Quebec in 2009 would be released that December; fans would get the chance to vote for two setlists that would appear on the DVD. The film, titled Quebec Magnetic, was released in the U.S. on December 10, 2012.In an interview with Classic Rock on January 8, 2013, Ulrich said regarding the band's upcoming album, "What we're doing now certainly sounds like a continuation [of Death Magnetic]". He also said, "I love Rick [Rubin]. We all love Rick. We're in touch with Rick constantly. We'll see where it goes. It would stun me if the record came out in 2013." Also in 2013, the band starred in a 3D concert film titled Metallica: Through the Never, which was directed by Antal Nimród and was released in IMAX theaters on September 27. In an interview dated July 22, 2013, Ulrich told Ultimate Guitar, "2014 will be all about making a new Metallica record"; he said the album will most likely be released during 2015. Kirk Hammett and Robert Trujillo later confirmed the band's intention to enter the studio. At the second Orion Music + More festival held in Detroit, the band played under the name "Dehaan"—a reference to actor Dane DeHaan, who starred in Metallica: Through the Never. The band performed its debut album Kill 'Em All in its entirety, celebrating the 30th anniversary of its release. On December 8, 2013, the band played a show called "Freeze 'Em All" in Antarctica, becoming the first band to play on all seven continents. The performance was filmed and released as a live album the same month.
Output: What is the last name of the person all the members of the band loved?
Passage: On February 7, 2012, Metallica announced that it would start a new music festival called Orion Music + More, which took place on June 23 and 24, 2012, in Atlantic City. Metallica also confirmed that it would headline the festival on both days and would perform two of its most critically acclaimed albums in their entirety: The Black Album on one night, and Ride the Lightning on the other. In a July 2012 interview with Canadian radio station 99.3 The Fox, Ulrich said Metallica would not release its new album until at least early 2014. In November 2012, Metallica left Warner Bros. Records and launched an independent record label, Blackened Recordings, which will produce the band's future releases. The band has acquired the rights to all of its studio albums, which will be reissued through the new label. Blackened releases will be licensed through Warner subsidiary Rhino Entertainment in North America and internationally through Universal Music. On September 20, 2012, Metallica announced via its official website that a new DVD containing footage of shows it performed in Quebec in 2009 would be released that December; fans would get the chance to vote for two setlists that would appear on the DVD. The film, titled Quebec Magnetic, was released in the U.S. on December 10, 2012.In an interview with Classic Rock on January 8, 2013, Ulrich said regarding the band's upcoming album, "What we're doing now certainly sounds like a continuation [of Death Magnetic]". He also said, "I love Rick [Rubin]. We all love Rick. We're in touch with Rick constantly. We'll see where it goes. It would stun me if the record came out in 2013." Also in 2013, the band starred in a 3D concert film titled Metallica: Through the Never, which was directed by Antal Nimród and was released in IMAX theaters on September 27. In an interview dated July 22, 2013, Ulrich told Ultimate Guitar, "2014 will be all about making a new Metallica record"; he said the album will most likely be released during 2015. Kirk Hammett and Robert Trujillo later confirmed the band's intention to enter the studio. At the second Orion Music + More festival held in Detroit, the band played under the name "Dehaan"—a reference to actor Dane DeHaan, who starred in Metallica: Through the Never. The band performed its debut album Kill 'Em All in its entirety, celebrating the 30th anniversary of its release. On December 8, 2013, the band played a show called "Freeze 'Em All" in Antarctica, becoming the first band to play on all seven continents. The performance was filmed and released as a live album the same month.
Output: What is the last name of the person who the band was constantly in touch with?
Passage: On February 7, 2012, Metallica announced that it would start a new music festival called Orion Music + More, which took place on June 23 and 24, 2012, in Atlantic City. Metallica also confirmed that it would headline the festival on both days and would perform two of its most critically acclaimed albums in their entirety: The Black Album on one night, and Ride the Lightning on the other. In a July 2012 interview with Canadian radio station 99.3 The Fox, Ulrich said Metallica would not release its new album until at least early 2014. In November 2012, Metallica left Warner Bros. Records and launched an independent record label, Blackened Recordings, which will produce the band's future releases. The band has acquired the rights to all of its studio albums, which will be reissued through the new label. Blackened releases will be licensed through Warner subsidiary Rhino Entertainment in North America and internationally through Universal Music. On September 20, 2012, Metallica announced via its official website that a new DVD containing footage of shows it performed in Quebec in 2009 would be released that December; fans would get the chance to vote for two setlists that would appear on the DVD. The film, titled Quebec Magnetic, was released in the U.S. on December 10, 2012.In an interview with Classic Rock on January 8, 2013, Ulrich said regarding the band's upcoming album, "What we're doing now certainly sounds like a continuation [of Death Magnetic]". He also said, "I love Rick [Rubin]. We all love Rick. We're in touch with Rick constantly. We'll see where it goes. It would stun me if the record came out in 2013." Also in 2013, the band starred in a 3D concert film titled Metallica: Through the Never, which was directed by Antal Nimród and was released in IMAX theaters on September 27. In an interview dated July 22, 2013, Ulrich told Ultimate Guitar, "2014 will be all about making a new Metallica record"; he said the album will most likely be released during 2015. Kirk Hammett and Robert Trujillo later confirmed the band's intention to enter the studio. At the second Orion Music + More festival held in Detroit, the band played under the name "Dehaan"—a reference to actor Dane DeHaan, who starred in Metallica: Through the Never. The band performed its debut album Kill 'Em All in its entirety, celebrating the 30th anniversary of its release. On December 8, 2013, the band played a show called "Freeze 'Em All" in Antarctica, becoming the first band to play on all seven continents. The performance was filmed and released as a live album the same month.
Output: What two cities was the Orion Music + More festival held?
Passage: In mid-1917 nine-year-old Frances Griffiths and her mother—both newly arrived in the UK from South Africa—were staying with Frances' aunt, Elsie Wright's mother, in the village of Cottingley in West Yorkshire; Elsie was then 16 years old. The two girls often played together beside the beck (stream) at the bottom of the garden, much to their mothers' annoyance, because they frequently came back with wet feet and clothes. Frances and Elsie said they only went to the beck to see the fairies, and to prove it, Elsie borrowed her father's camera, a Midg quarter-plate. The girls returned about 30 minutes later, "triumphant".Elsie's father, Arthur, was a keen amateur photographer, and had set up his own darkroom. The picture on the photographic plate he developed showed Frances behind a bush in the foreground, on which four fairies appeared to be dancing. Knowing his daughter's artistic ability, and that she had spent some time working in a photographer's studio, he dismissed the figures as cardboard cutouts. Two months later the girls borrowed his camera again, and this time returned with a photograph of Elsie sitting on the lawn holding out her hand to a 1-foot-tall (30 cm) gnome. Exasperated by what he believed to be "nothing but a prank", and convinced that the girls must have tampered with his camera in some way, Arthur Wright refused to lend it to them again. His wife Polly, however, believed the photographs to be authentic.
Towards the end of 1918, Frances sent a letter to Johanna Parvin, a friend in Cape Town, South Africa, where Frances had lived for most of her life, enclosing the photograph of herself with the fairies. On the back she wrote "It is funny, I never used to see them in Africa. It must be too hot for them there."The photographs became public in mid-1919, after Elsie's mother attended a meeting of the Theosophical Society in Bradford. The lecture that evening was on "fairy life", and at the end of the meeting Polly Wright showed the two fairy photographs taken by her daughter and niece to the speaker. As a result, the photographs were displayed at the society's annual conference in Harrogate, held a few months later. There they came to the attention of a leading member of the society, Edward Gardner. One of the central beliefs of theosophy is that humanity is undergoing a cycle of evolution, towards increasing "perfection", and Gardner recognised the potential significance of the photographs for the movement:
the fact that two young girls had not only been able to see fairies, which others had done, but had actually for the first time ever been able to materialise them at a density sufficient for their images to be recorded on a photographic plate, meant that it was possible that the next cycle of evolution was underway.
Output: What are the full names of the girls who had taken the photographs that Polly Wright showed at the meeting?
Passage: In mid-1917 nine-year-old Frances Griffiths and her mother—both newly arrived in the UK from South Africa—were staying with Frances' aunt, Elsie Wright's mother, in the village of Cottingley in West Yorkshire; Elsie was then 16 years old. The two girls often played together beside the beck (stream) at the bottom of the garden, much to their mothers' annoyance, because they frequently came back with wet feet and clothes. Frances and Elsie said they only went to the beck to see the fairies, and to prove it, Elsie borrowed her father's camera, a Midg quarter-plate. The girls returned about 30 minutes later, "triumphant".Elsie's father, Arthur, was a keen amateur photographer, and had set up his own darkroom. The picture on the photographic plate he developed showed Frances behind a bush in the foreground, on which four fairies appeared to be dancing. Knowing his daughter's artistic ability, and that she had spent some time working in a photographer's studio, he dismissed the figures as cardboard cutouts. Two months later the girls borrowed his camera again, and this time returned with a photograph of Elsie sitting on the lawn holding out her hand to a 1-foot-tall (30 cm) gnome. Exasperated by what he believed to be "nothing but a prank", and convinced that the girls must have tampered with his camera in some way, Arthur Wright refused to lend it to them again. His wife Polly, however, believed the photographs to be authentic.
Towards the end of 1918, Frances sent a letter to Johanna Parvin, a friend in Cape Town, South Africa, where Frances had lived for most of her life, enclosing the photograph of herself with the fairies. On the back she wrote "It is funny, I never used to see them in Africa. It must be too hot for them there."The photographs became public in mid-1919, after Elsie's mother attended a meeting of the Theosophical Society in Bradford. The lecture that evening was on "fairy life", and at the end of the meeting Polly Wright showed the two fairy photographs taken by her daughter and niece to the speaker. As a result, the photographs were displayed at the society's annual conference in Harrogate, held a few months later. There they came to the attention of a leading member of the society, Edward Gardner. One of the central beliefs of theosophy is that humanity is undergoing a cycle of evolution, towards increasing "perfection", and Gardner recognised the potential significance of the photographs for the movement:
the fact that two young girls had not only been able to see fairies, which others had done, but had actually for the first time ever been able to materialise them at a density sufficient for their images to be recorded on a photographic plate, meant that it was possible that the next cycle of evolution was underway.
Output: Where did the photographs come to the attention of Edward Gardner?
Passage: In mid-1917 nine-year-old Frances Griffiths and her mother—both newly arrived in the UK from South Africa—were staying with Frances' aunt, Elsie Wright's mother, in the village of Cottingley in West Yorkshire; Elsie was then 16 years old. The two girls often played together beside the beck (stream) at the bottom of the garden, much to their mothers' annoyance, because they frequently came back with wet feet and clothes. Frances and Elsie said they only went to the beck to see the fairies, and to prove it, Elsie borrowed her father's camera, a Midg quarter-plate. The girls returned about 30 minutes later, "triumphant".Elsie's father, Arthur, was a keen amateur photographer, and had set up his own darkroom. The picture on the photographic plate he developed showed Frances behind a bush in the foreground, on which four fairies appeared to be dancing. Knowing his daughter's artistic ability, and that she had spent some time working in a photographer's studio, he dismissed the figures as cardboard cutouts. Two months later the girls borrowed his camera again, and this time returned with a photograph of Elsie sitting on the lawn holding out her hand to a 1-foot-tall (30 cm) gnome. Exasperated by what he believed to be "nothing but a prank", and convinced that the girls must have tampered with his camera in some way, Arthur Wright refused to lend it to them again. His wife Polly, however, believed the photographs to be authentic.
Towards the end of 1918, Frances sent a letter to Johanna Parvin, a friend in Cape Town, South Africa, where Frances had lived for most of her life, enclosing the photograph of herself with the fairies. On the back she wrote "It is funny, I never used to see them in Africa. It must be too hot for them there."The photographs became public in mid-1919, after Elsie's mother attended a meeting of the Theosophical Society in Bradford. The lecture that evening was on "fairy life", and at the end of the meeting Polly Wright showed the two fairy photographs taken by her daughter and niece to the speaker. As a result, the photographs were displayed at the society's annual conference in Harrogate, held a few months later. There they came to the attention of a leading member of the society, Edward Gardner. One of the central beliefs of theosophy is that humanity is undergoing a cycle of evolution, towards increasing "perfection", and Gardner recognised the potential significance of the photographs for the movement:
the fact that two young girls had not only been able to see fairies, which others had done, but had actually for the first time ever been able to materialise them at a density sufficient for their images to be recorded on a photographic plate, meant that it was possible that the next cycle of evolution was underway.
Output: What is the full name of the person who dismissed the figures as cardboard cutouts?
Passage: In mid-1917 nine-year-old Frances Griffiths and her mother—both newly arrived in the UK from South Africa—were staying with Frances' aunt, Elsie Wright's mother, in the village of Cottingley in West Yorkshire; Elsie was then 16 years old. The two girls often played together beside the beck (stream) at the bottom of the garden, much to their mothers' annoyance, because they frequently came back with wet feet and clothes. Frances and Elsie said they only went to the beck to see the fairies, and to prove it, Elsie borrowed her father's camera, a Midg quarter-plate. The girls returned about 30 minutes later, "triumphant".Elsie's father, Arthur, was a keen amateur photographer, and had set up his own darkroom. The picture on the photographic plate he developed showed Frances behind a bush in the foreground, on which four fairies appeared to be dancing. Knowing his daughter's artistic ability, and that she had spent some time working in a photographer's studio, he dismissed the figures as cardboard cutouts. Two months later the girls borrowed his camera again, and this time returned with a photograph of Elsie sitting on the lawn holding out her hand to a 1-foot-tall (30 cm) gnome. Exasperated by what he believed to be "nothing but a prank", and convinced that the girls must have tampered with his camera in some way, Arthur Wright refused to lend it to them again. His wife Polly, however, believed the photographs to be authentic.
Towards the end of 1918, Frances sent a letter to Johanna Parvin, a friend in Cape Town, South Africa, where Frances had lived for most of her life, enclosing the photograph of herself with the fairies. On the back she wrote "It is funny, I never used to see them in Africa. It must be too hot for them there."The photographs became public in mid-1919, after Elsie's mother attended a meeting of the Theosophical Society in Bradford. The lecture that evening was on "fairy life", and at the end of the meeting Polly Wright showed the two fairy photographs taken by her daughter and niece to the speaker. As a result, the photographs were displayed at the society's annual conference in Harrogate, held a few months later. There they came to the attention of a leading member of the society, Edward Gardner. One of the central beliefs of theosophy is that humanity is undergoing a cycle of evolution, towards increasing "perfection", and Gardner recognised the potential significance of the photographs for the movement:
the fact that two young girls had not only been able to see fairies, which others had done, but had actually for the first time ever been able to materialise them at a density sufficient for their images to be recorded on a photographic plate, meant that it was possible that the next cycle of evolution was underway.
Output: What is the full name of the person who wrote "I never used to see them in Africa?"?
Passage: In mid-1917 nine-year-old Frances Griffiths and her mother—both newly arrived in the UK from South Africa—were staying with Frances' aunt, Elsie Wright's mother, in the village of Cottingley in West Yorkshire; Elsie was then 16 years old. The two girls often played together beside the beck (stream) at the bottom of the garden, much to their mothers' annoyance, because they frequently came back with wet feet and clothes. Frances and Elsie said they only went to the beck to see the fairies, and to prove it, Elsie borrowed her father's camera, a Midg quarter-plate. The girls returned about 30 minutes later, "triumphant".Elsie's father, Arthur, was a keen amateur photographer, and had set up his own darkroom. The picture on the photographic plate he developed showed Frances behind a bush in the foreground, on which four fairies appeared to be dancing. Knowing his daughter's artistic ability, and that she had spent some time working in a photographer's studio, he dismissed the figures as cardboard cutouts. Two months later the girls borrowed his camera again, and this time returned with a photograph of Elsie sitting on the lawn holding out her hand to a 1-foot-tall (30 cm) gnome. Exasperated by what he believed to be "nothing but a prank", and convinced that the girls must have tampered with his camera in some way, Arthur Wright refused to lend it to them again. His wife Polly, however, believed the photographs to be authentic.
Towards the end of 1918, Frances sent a letter to Johanna Parvin, a friend in Cape Town, South Africa, where Frances had lived for most of her life, enclosing the photograph of herself with the fairies. On the back she wrote "It is funny, I never used to see them in Africa. It must be too hot for them there."The photographs became public in mid-1919, after Elsie's mother attended a meeting of the Theosophical Society in Bradford. The lecture that evening was on "fairy life", and at the end of the meeting Polly Wright showed the two fairy photographs taken by her daughter and niece to the speaker. As a result, the photographs were displayed at the society's annual conference in Harrogate, held a few months later. There they came to the attention of a leading member of the society, Edward Gardner. One of the central beliefs of theosophy is that humanity is undergoing a cycle of evolution, towards increasing "perfection", and Gardner recognised the potential significance of the photographs for the movement:
the fact that two young girls had not only been able to see fairies, which others had done, but had actually for the first time ever been able to materialise them at a density sufficient for their images to be recorded on a photographic plate, meant that it was possible that the next cycle of evolution was underway.
Output: What is the full name of Elsie's mother?
Passage: In mid-1917 nine-year-old Frances Griffiths and her mother—both newly arrived in the UK from South Africa—were staying with Frances' aunt, Elsie Wright's mother, in the village of Cottingley in West Yorkshire; Elsie was then 16 years old. The two girls often played together beside the beck (stream) at the bottom of the garden, much to their mothers' annoyance, because they frequently came back with wet feet and clothes. Frances and Elsie said they only went to the beck to see the fairies, and to prove it, Elsie borrowed her father's camera, a Midg quarter-plate. The girls returned about 30 minutes later, "triumphant".Elsie's father, Arthur, was a keen amateur photographer, and had set up his own darkroom. The picture on the photographic plate he developed showed Frances behind a bush in the foreground, on which four fairies appeared to be dancing. Knowing his daughter's artistic ability, and that she had spent some time working in a photographer's studio, he dismissed the figures as cardboard cutouts. Two months later the girls borrowed his camera again, and this time returned with a photograph of Elsie sitting on the lawn holding out her hand to a 1-foot-tall (30 cm) gnome. Exasperated by what he believed to be "nothing but a prank", and convinced that the girls must have tampered with his camera in some way, Arthur Wright refused to lend it to them again. His wife Polly, however, believed the photographs to be authentic.
Towards the end of 1918, Frances sent a letter to Johanna Parvin, a friend in Cape Town, South Africa, where Frances had lived for most of her life, enclosing the photograph of herself with the fairies. On the back she wrote "It is funny, I never used to see them in Africa. It must be too hot for them there."The photographs became public in mid-1919, after Elsie's mother attended a meeting of the Theosophical Society in Bradford. The lecture that evening was on "fairy life", and at the end of the meeting Polly Wright showed the two fairy photographs taken by her daughter and niece to the speaker. As a result, the photographs were displayed at the society's annual conference in Harrogate, held a few months later. There they came to the attention of a leading member of the society, Edward Gardner. One of the central beliefs of theosophy is that humanity is undergoing a cycle of evolution, towards increasing "perfection", and Gardner recognised the potential significance of the photographs for the movement:
the fact that two young girls had not only been able to see fairies, which others had done, but had actually for the first time ever been able to materialise them at a density sufficient for their images to be recorded on a photographic plate, meant that it was possible that the next cycle of evolution was underway.
Output: What was the full name of Frances' aunt?
Passage: In mid-1917 nine-year-old Frances Griffiths and her mother—both newly arrived in the UK from South Africa—were staying with Frances' aunt, Elsie Wright's mother, in the village of Cottingley in West Yorkshire; Elsie was then 16 years old. The two girls often played together beside the beck (stream) at the bottom of the garden, much to their mothers' annoyance, because they frequently came back with wet feet and clothes. Frances and Elsie said they only went to the beck to see the fairies, and to prove it, Elsie borrowed her father's camera, a Midg quarter-plate. The girls returned about 30 minutes later, "triumphant".Elsie's father, Arthur, was a keen amateur photographer, and had set up his own darkroom. The picture on the photographic plate he developed showed Frances behind a bush in the foreground, on which four fairies appeared to be dancing. Knowing his daughter's artistic ability, and that she had spent some time working in a photographer's studio, he dismissed the figures as cardboard cutouts. Two months later the girls borrowed his camera again, and this time returned with a photograph of Elsie sitting on the lawn holding out her hand to a 1-foot-tall (30 cm) gnome. Exasperated by what he believed to be "nothing but a prank", and convinced that the girls must have tampered with his camera in some way, Arthur Wright refused to lend it to them again. His wife Polly, however, believed the photographs to be authentic.
Towards the end of 1918, Frances sent a letter to Johanna Parvin, a friend in Cape Town, South Africa, where Frances had lived for most of her life, enclosing the photograph of herself with the fairies. On the back she wrote "It is funny, I never used to see them in Africa. It must be too hot for them there."The photographs became public in mid-1919, after Elsie's mother attended a meeting of the Theosophical Society in Bradford. The lecture that evening was on "fairy life", and at the end of the meeting Polly Wright showed the two fairy photographs taken by her daughter and niece to the speaker. As a result, the photographs were displayed at the society's annual conference in Harrogate, held a few months later. There they came to the attention of a leading member of the society, Edward Gardner. One of the central beliefs of theosophy is that humanity is undergoing a cycle of evolution, towards increasing "perfection", and Gardner recognised the potential significance of the photographs for the movement:
the fact that two young girls had not only been able to see fairies, which others had done, but had actually for the first time ever been able to materialise them at a density sufficient for their images to be recorded on a photographic plate, meant that it was possible that the next cycle of evolution was underway.
Output: What is the full name of the person who had spent time working in a photographer's studio?
Passage: In mid-1917 nine-year-old Frances Griffiths and her mother—both newly arrived in the UK from South Africa—were staying with Frances' aunt, Elsie Wright's mother, in the village of Cottingley in West Yorkshire; Elsie was then 16 years old. The two girls often played together beside the beck (stream) at the bottom of the garden, much to their mothers' annoyance, because they frequently came back with wet feet and clothes. Frances and Elsie said they only went to the beck to see the fairies, and to prove it, Elsie borrowed her father's camera, a Midg quarter-plate. The girls returned about 30 minutes later, "triumphant".Elsie's father, Arthur, was a keen amateur photographer, and had set up his own darkroom. The picture on the photographic plate he developed showed Frances behind a bush in the foreground, on which four fairies appeared to be dancing. Knowing his daughter's artistic ability, and that she had spent some time working in a photographer's studio, he dismissed the figures as cardboard cutouts. Two months later the girls borrowed his camera again, and this time returned with a photograph of Elsie sitting on the lawn holding out her hand to a 1-foot-tall (30 cm) gnome. Exasperated by what he believed to be "nothing but a prank", and convinced that the girls must have tampered with his camera in some way, Arthur Wright refused to lend it to them again. His wife Polly, however, believed the photographs to be authentic.
Towards the end of 1918, Frances sent a letter to Johanna Parvin, a friend in Cape Town, South Africa, where Frances had lived for most of her life, enclosing the photograph of herself with the fairies. On the back she wrote "It is funny, I never used to see them in Africa. It must be too hot for them there."The photographs became public in mid-1919, after Elsie's mother attended a meeting of the Theosophical Society in Bradford. The lecture that evening was on "fairy life", and at the end of the meeting Polly Wright showed the two fairy photographs taken by her daughter and niece to the speaker. As a result, the photographs were displayed at the society's annual conference in Harrogate, held a few months later. There they came to the attention of a leading member of the society, Edward Gardner. One of the central beliefs of theosophy is that humanity is undergoing a cycle of evolution, towards increasing "perfection", and Gardner recognised the potential significance of the photographs for the movement:
the fact that two young girls had not only been able to see fairies, which others had done, but had actually for the first time ever been able to materialise them at a density sufficient for their images to be recorded on a photographic plate, meant that it was possible that the next cycle of evolution was underway.
Output: What town did the girl who claimed to have seen fairies live most of her life?