niryuu/sni-each-converted huggingface dataset:
The story focuses on a family of anthropomorphic rabbits. The widowed mother rabbit cautions her young against entering the vegetable garden of a man named Mr McGregor, telling them: "your Father had an accident there; he was put in a pie by Mrs McGregor". Her three daughters obediently refrain from entering the garden, going down the lane to pick blackberries, but her rebellious son Peter enters the garden to snack on some vegetables. Peter ends up eating more than is good for him and goes looking for parsley to cure his stomach ache. Peter is spotted by Mr McGregor and loses his jacket and shoes while trying to escape. He hides in a watering can in a shed, but then has to run away again when Mr McGregor finds him, and ends up completely lost. After sneaking past a cat, Peter sees the gate where he entered the garden from a distance and heads for it, despite being spotted and chased by Mr McGregor again. With difficulty he wriggles under the gate, and escapes from the garden, but he spots his abandoned clothing being used to dress Mr McGregor's scarecrow. After returning home, a sick Peter is sent to bed by his mother, while his well-behaved sisters receive a sumptuous dinner of milk and berries as opposed to Peter's supper of chamomile tea.
Output: What does Peter lose while running away from Mr. McGregor?
The story focuses on a family of anthropomorphic rabbits. The widowed mother rabbit cautions her young against entering the vegetable garden of a man named Mr McGregor, telling them: "your Father had an accident there; he was put in a pie by Mrs McGregor". Her three daughters obediently refrain from entering the garden, going down the lane to pick blackberries, but her rebellious son Peter enters the garden to snack on some vegetables. Peter ends up eating more than is good for him and goes looking for parsley to cure his stomach ache. Peter is spotted by Mr McGregor and loses his jacket and shoes while trying to escape. He hides in a watering can in a shed, but then has to run away again when Mr McGregor finds him, and ends up completely lost. After sneaking past a cat, Peter sees the gate where he entered the garden from a distance and heads for it, despite being spotted and chased by Mr McGregor again. With difficulty he wriggles under the gate, and escapes from the garden, but he spots his abandoned clothing being used to dress Mr McGregor's scarecrow. After returning home, a sick Peter is sent to bed by his mother, while his well-behaved sisters receive a sumptuous dinner of milk and berries as opposed to Peter's supper of chamomile tea.
Output: What does Peter hide in while in the shed?
The story focuses on a family of anthropomorphic rabbits. The widowed mother rabbit cautions her young against entering the vegetable garden of a man named Mr McGregor, telling them: "your Father had an accident there; he was put in a pie by Mrs McGregor". Her three daughters obediently refrain from entering the garden, going down the lane to pick blackberries, but her rebellious son Peter enters the garden to snack on some vegetables. Peter ends up eating more than is good for him and goes looking for parsley to cure his stomach ache. Peter is spotted by Mr McGregor and loses his jacket and shoes while trying to escape. He hides in a watering can in a shed, but then has to run away again when Mr McGregor finds him, and ends up completely lost. After sneaking past a cat, Peter sees the gate where he entered the garden from a distance and heads for it, despite being spotted and chased by Mr McGregor again. With difficulty he wriggles under the gate, and escapes from the garden, but he spots his abandoned clothing being used to dress Mr McGregor's scarecrow. After returning home, a sick Peter is sent to bed by his mother, while his well-behaved sisters receive a sumptuous dinner of milk and berries as opposed to Peter's supper of chamomile tea.
Output: What does Peter have for supper?
The story focuses on a family of anthropomorphic rabbits. The widowed mother rabbit cautions her young against entering the vegetable garden of a man named Mr McGregor, telling them: "your Father had an accident there; he was put in a pie by Mrs McGregor". Her three daughters obediently refrain from entering the garden, going down the lane to pick blackberries, but her rebellious son Peter enters the garden to snack on some vegetables. Peter ends up eating more than is good for him and goes looking for parsley to cure his stomach ache. Peter is spotted by Mr McGregor and loses his jacket and shoes while trying to escape. He hides in a watering can in a shed, but then has to run away again when Mr McGregor finds him, and ends up completely lost. After sneaking past a cat, Peter sees the gate where he entered the garden from a distance and heads for it, despite being spotted and chased by Mr McGregor again. With difficulty he wriggles under the gate, and escapes from the garden, but he spots his abandoned clothing being used to dress Mr McGregor's scarecrow. After returning home, a sick Peter is sent to bed by his mother, while his well-behaved sisters receive a sumptuous dinner of milk and berries as opposed to Peter's supper of chamomile tea.
Output: What do Peter's three sisters have for supper?
The story focuses on a family of anthropomorphic rabbits. The widowed mother rabbit cautions her young against entering the vegetable garden of a man named Mr McGregor, telling them: "your Father had an accident there; he was put in a pie by Mrs McGregor". Her three daughters obediently refrain from entering the garden, going down the lane to pick blackberries, but her rebellious son Peter enters the garden to snack on some vegetables. Peter ends up eating more than is good for him and goes looking for parsley to cure his stomach ache. Peter is spotted by Mr McGregor and loses his jacket and shoes while trying to escape. He hides in a watering can in a shed, but then has to run away again when Mr McGregor finds him, and ends up completely lost. After sneaking past a cat, Peter sees the gate where he entered the garden from a distance and heads for it, despite being spotted and chased by Mr McGregor again. With difficulty he wriggles under the gate, and escapes from the garden, but he spots his abandoned clothing being used to dress Mr McGregor's scarecrow. After returning home, a sick Peter is sent to bed by his mother, while his well-behaved sisters receive a sumptuous dinner of milk and berries as opposed to Peter's supper of chamomile tea.
Output: What is parsley good for?
The story focuses on a family of anthropomorphic rabbits. The widowed mother rabbit cautions her young against entering the vegetable garden of a man named Mr McGregor, telling them: "your Father had an accident there; he was put in a pie by Mrs McGregor". Her three daughters obediently refrain from entering the garden, going down the lane to pick blackberries, but her rebellious son Peter enters the garden to snack on some vegetables. Peter ends up eating more than is good for him and goes looking for parsley to cure his stomach ache. Peter is spotted by Mr McGregor and loses his jacket and shoes while trying to escape. He hides in a watering can in a shed, but then has to run away again when Mr McGregor finds him, and ends up completely lost. After sneaking past a cat, Peter sees the gate where he entered the garden from a distance and heads for it, despite being spotted and chased by Mr McGregor again. With difficulty he wriggles under the gate, and escapes from the garden, but he spots his abandoned clothing being used to dress Mr McGregor's scarecrow. After returning home, a sick Peter is sent to bed by his mother, while his well-behaved sisters receive a sumptuous dinner of milk and berries as opposed to Peter's supper of chamomile tea.
Output: What happens after Peter eats too many vegetables?
The story focuses on a family of anthropomorphic rabbits. The widowed mother rabbit cautions her young against entering the vegetable garden of a man named Mr McGregor, telling them: "your Father had an accident there; he was put in a pie by Mrs McGregor". Her three daughters obediently refrain from entering the garden, going down the lane to pick blackberries, but her rebellious son Peter enters the garden to snack on some vegetables. Peter ends up eating more than is good for him and goes looking for parsley to cure his stomach ache. Peter is spotted by Mr McGregor and loses his jacket and shoes while trying to escape. He hides in a watering can in a shed, but then has to run away again when Mr McGregor finds him, and ends up completely lost. After sneaking past a cat, Peter sees the gate where he entered the garden from a distance and heads for it, despite being spotted and chased by Mr McGregor again. With difficulty he wriggles under the gate, and escapes from the garden, but he spots his abandoned clothing being used to dress Mr McGregor's scarecrow. After returning home, a sick Peter is sent to bed by his mother, while his well-behaved sisters receive a sumptuous dinner of milk and berries as opposed to Peter's supper of chamomile tea.
Output: Which young bunny ventures into the McGregor's garden?
The story focuses on a family of anthropomorphic rabbits. The widowed mother rabbit cautions her young against entering the vegetable garden of a man named Mr McGregor, telling them: "your Father had an accident there; he was put in a pie by Mrs McGregor". Her three daughters obediently refrain from entering the garden, going down the lane to pick blackberries, but her rebellious son Peter enters the garden to snack on some vegetables. Peter ends up eating more than is good for him and goes looking for parsley to cure his stomach ache. Peter is spotted by Mr McGregor and loses his jacket and shoes while trying to escape. He hides in a watering can in a shed, but then has to run away again when Mr McGregor finds him, and ends up completely lost. After sneaking past a cat, Peter sees the gate where he entered the garden from a distance and heads for it, despite being spotted and chased by Mr McGregor again. With difficulty he wriggles under the gate, and escapes from the garden, but he spots his abandoned clothing being used to dress Mr McGregor's scarecrow. After returning home, a sick Peter is sent to bed by his mother, while his well-behaved sisters receive a sumptuous dinner of milk and berries as opposed to Peter's supper of chamomile tea.
Output: Where does most of the story take place?
The story focuses on a family of anthropomorphic rabbits. The widowed mother rabbit cautions her young against entering the vegetable garden of a man named Mr McGregor, telling them: "your Father had an accident there; he was put in a pie by Mrs McGregor". Her three daughters obediently refrain from entering the garden, going down the lane to pick blackberries, but her rebellious son Peter enters the garden to snack on some vegetables. Peter ends up eating more than is good for him and goes looking for parsley to cure his stomach ache. Peter is spotted by Mr McGregor and loses his jacket and shoes while trying to escape. He hides in a watering can in a shed, but then has to run away again when Mr McGregor finds him, and ends up completely lost. After sneaking past a cat, Peter sees the gate where he entered the garden from a distance and heads for it, despite being spotted and chased by Mr McGregor again. With difficulty he wriggles under the gate, and escapes from the garden, but he spots his abandoned clothing being used to dress Mr McGregor's scarecrow. After returning home, a sick Peter is sent to bed by his mother, while his well-behaved sisters receive a sumptuous dinner of milk and berries as opposed to Peter's supper of chamomile tea.
Output: What happened after Mr. McGregor found Peter in the watering can?
The story focuses on a family of anthropomorphic rabbits. The widowed mother rabbit cautions her young against entering the vegetable garden of a man named Mr McGregor, telling them: "your Father had an accident there; he was put in a pie by Mrs McGregor". Her three daughters obediently refrain from entering the garden, going down the lane to pick blackberries, but her rebellious son Peter enters the garden to snack on some vegetables. Peter ends up eating more than is good for him and goes looking for parsley to cure his stomach ache. Peter is spotted by Mr McGregor and loses his jacket and shoes while trying to escape. He hides in a watering can in a shed, but then has to run away again when Mr McGregor finds him, and ends up completely lost. After sneaking past a cat, Peter sees the gate where he entered the garden from a distance and heads for it, despite being spotted and chased by Mr McGregor again. With difficulty he wriggles under the gate, and escapes from the garden, but he spots his abandoned clothing being used to dress Mr McGregor's scarecrow. After returning home, a sick Peter is sent to bed by his mother, while his well-behaved sisters receive a sumptuous dinner of milk and berries as opposed to Peter's supper of chamomile tea.
Output: What does Peter have for dinner after getting back home?
The story focuses on a family of anthropomorphic rabbits. The widowed mother rabbit cautions her young against entering the vegetable garden of a man named Mr McGregor, telling them: "your Father had an accident there; he was put in a pie by Mrs McGregor". Her three daughters obediently refrain from entering the garden, going down the lane to pick blackberries, but her rebellious son Peter enters the garden to snack on some vegetables. Peter ends up eating more than is good for him and goes looking for parsley to cure his stomach ache. Peter is spotted by Mr McGregor and loses his jacket and shoes while trying to escape. He hides in a watering can in a shed, but then has to run away again when Mr McGregor finds him, and ends up completely lost. After sneaking past a cat, Peter sees the gate where he entered the garden from a distance and heads for it, despite being spotted and chased by Mr McGregor again. With difficulty he wriggles under the gate, and escapes from the garden, but he spots his abandoned clothing being used to dress Mr McGregor's scarecrow. After returning home, a sick Peter is sent to bed by his mother, while his well-behaved sisters receive a sumptuous dinner of milk and berries as opposed to Peter's supper of chamomile tea.
Output: How does Peter get out of the McGregor garden?
The story focuses on a family of anthropomorphic rabbits. The widowed mother rabbit cautions her young against entering the vegetable garden of a man named Mr McGregor, telling them: "your Father had an accident there; he was put in a pie by Mrs McGregor". Her three daughters obediently refrain from entering the garden, going down the lane to pick blackberries, but her rebellious son Peter enters the garden to snack on some vegetables. Peter ends up eating more than is good for him and goes looking for parsley to cure his stomach ache. Peter is spotted by Mr McGregor and loses his jacket and shoes while trying to escape. He hides in a watering can in a shed, but then has to run away again when Mr McGregor finds him, and ends up completely lost. After sneaking past a cat, Peter sees the gate where he entered the garden from a distance and heads for it, despite being spotted and chased by Mr McGregor again. With difficulty he wriggles under the gate, and escapes from the garden, but he spots his abandoned clothing being used to dress Mr McGregor's scarecrow. After returning home, a sick Peter is sent to bed by his mother, while his well-behaved sisters receive a sumptuous dinner of milk and berries as opposed to Peter's supper of chamomile tea.
Output: What did Perter's sisters do when Peter went into Mr. McGregor's garden?
The story focuses on a family of anthropomorphic rabbits. The widowed mother rabbit cautions her young against entering the vegetable garden of a man named Mr McGregor, telling them: "your Father had an accident there; he was put in a pie by Mrs McGregor". Her three daughters obediently refrain from entering the garden, going down the lane to pick blackberries, but her rebellious son Peter enters the garden to snack on some vegetables. Peter ends up eating more than is good for him and goes looking for parsley to cure his stomach ache. Peter is spotted by Mr McGregor and loses his jacket and shoes while trying to escape. He hides in a watering can in a shed, but then has to run away again when Mr McGregor finds him, and ends up completely lost. After sneaking past a cat, Peter sees the gate where he entered the garden from a distance and heads for it, despite being spotted and chased by Mr McGregor again. With difficulty he wriggles under the gate, and escapes from the garden, but he spots his abandoned clothing being used to dress Mr McGregor's scarecrow. After returning home, a sick Peter is sent to bed by his mother, while his well-behaved sisters receive a sumptuous dinner of milk and berries as opposed to Peter's supper of chamomile tea.
Output: Where does Peter hide when Mr. McGregor finds him?
The story focuses on a family of anthropomorphic rabbits. The widowed mother rabbit cautions her young against entering the vegetable garden of a man named Mr McGregor, telling them: "your Father had an accident there; he was put in a pie by Mrs McGregor". Her three daughters obediently refrain from entering the garden, going down the lane to pick blackberries, but her rebellious son Peter enters the garden to snack on some vegetables. Peter ends up eating more than is good for him and goes looking for parsley to cure his stomach ache. Peter is spotted by Mr McGregor and loses his jacket and shoes while trying to escape. He hides in a watering can in a shed, but then has to run away again when Mr McGregor finds him, and ends up completely lost. After sneaking past a cat, Peter sees the gate where he entered the garden from a distance and heads for it, despite being spotted and chased by Mr McGregor again. With difficulty he wriggles under the gate, and escapes from the garden, but he spots his abandoned clothing being used to dress Mr McGregor's scarecrow. After returning home, a sick Peter is sent to bed by his mother, while his well-behaved sisters receive a sumptuous dinner of milk and berries as opposed to Peter's supper of chamomile tea.
Output: Where does Peter see his lost clothing?
The story focuses on a family of anthropomorphic rabbits. The widowed mother rabbit cautions her young against entering the vegetable garden of a man named Mr McGregor, telling them: "your Father had an accident there; he was put in a pie by Mrs McGregor". Her three daughters obediently refrain from entering the garden, going down the lane to pick blackberries, but her rebellious son Peter enters the garden to snack on some vegetables. Peter ends up eating more than is good for him and goes looking for parsley to cure his stomach ache. Peter is spotted by Mr McGregor and loses his jacket and shoes while trying to escape. He hides in a watering can in a shed, but then has to run away again when Mr McGregor finds him, and ends up completely lost. After sneaking past a cat, Peter sees the gate where he entered the garden from a distance and heads for it, despite being spotted and chased by Mr McGregor again. With difficulty he wriggles under the gate, and escapes from the garden, but he spots his abandoned clothing being used to dress Mr McGregor's scarecrow. After returning home, a sick Peter is sent to bed by his mother, while his well-behaved sisters receive a sumptuous dinner of milk and berries as opposed to Peter's supper of chamomile tea.
Output: Who is Mr. McGregor?
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is now a mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."
Output: What is the name of the protagonist?
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is now a mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."
Output: What are enticements of the flesh not more powerful than?
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is now a mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."
Output: Where does the confessor go at the end of the story?
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is now a mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."
Output: How old was Dayne when he went to Paris?
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is now a mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."
Output: Which French names does the confessor feel are bound up in the theories he studies?
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is now a mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."
Output: What captivates Dayne in particular about Paris in the beginning?
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is now a mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."
Output: According to the confessor what two things mingle in fraternity?
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is now a mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."
Output: What does Dayne study?
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is now a mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."
Output: What is Dayne's former opinion about art?
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is now a mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."
Output: What is Dayne's destiny?
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is now a mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."
Output: Where did the confessor go as a teenager?
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is now a mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."
Output: What does Dayne learn he is not destined to be?
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is now a mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."
Output: Where does Dayne flee to?
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is now a mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."
Output: What country did Dayne move to as a teenager?