niryuu/sni-each-converted huggingface dataset:
The President of the United States is caught making advances on an underage "Firefly Girl" less than two weeks before Election Day. Conrad Brean (De Niro), a top-notch spin doctor, is brought in to take the public's attention away from the scandal. He decides to construct a diversionary war with Albania, hoping the media will concentrate on this instead. Brean contacts Hollywood producer Stanley Motss (Hoffman) to create the war, complete with a theme song and fake film footage of a photogenic orphan (Dunst) in Albania.
When the CIA learns of the plot, they send Agent Young (Macy) to confront Brean who convinces him that revealing the deception is against his best interests. The CIA announces that the war has ended, but otherwise maintains the deception and the media begins to turn back to the President's abuse scandal. Motss decides to invent a hero who was left behind enemy lines, and inspired by the idea that he was "discarded like an old shoe" has the Pentagon provide him with a soldier named Schumann (Harrelson) around whom he constructs a further narrative including T-shirts, additional patriotic songs, and faux-grassroots demonstrations of patriotism. At each stage of the plan, Motss continually dismisses setbacks as "nothing" and compares them to past movie-making catastrophes he averted.
When the team goes to retrieve Schumann, they discover he is in fact a criminally insane Army prison convict before their plane crashes en route to Andrews Air Force Base. The team survives and is rescued by a farmer, but Schumann attempts to rape the farmer's daughter and the farmer kills him. Motss then stages an elaborate military funeral, claiming that Schumann died from wounds sustained during his rescue.
While watching a political talk show Motss gets frustrated that the media are crediting the president's win to a tired campaign slogan of "Don't change horses in mid-stream" rather than Motss's hard work. Despite previously claiming he was inspired by the challenge, Motss announces that he wants credit and will reveal his involvement, despite Brean's warning that he is "playing with his life". Motss refuses to back down, so Brean reluctantly has him killed and makes it look as if he had a heart attack. The president is successfully re-elected and a news report about a violent incident in Albania is shown, but it is ambiguous whether this is a true event or simply a continuation of the fictional war.
Output: What is Motss' response to the obvious setbacks that his plan incurs?
The President of the United States is caught making advances on an underage "Firefly Girl" less than two weeks before Election Day. Conrad Brean (De Niro), a top-notch spin doctor, is brought in to take the public's attention away from the scandal. He decides to construct a diversionary war with Albania, hoping the media will concentrate on this instead. Brean contacts Hollywood producer Stanley Motss (Hoffman) to create the war, complete with a theme song and fake film footage of a photogenic orphan (Dunst) in Albania.
When the CIA learns of the plot, they send Agent Young (Macy) to confront Brean who convinces him that revealing the deception is against his best interests. The CIA announces that the war has ended, but otherwise maintains the deception and the media begins to turn back to the President's abuse scandal. Motss decides to invent a hero who was left behind enemy lines, and inspired by the idea that he was "discarded like an old shoe" has the Pentagon provide him with a soldier named Schumann (Harrelson) around whom he constructs a further narrative including T-shirts, additional patriotic songs, and faux-grassroots demonstrations of patriotism. At each stage of the plan, Motss continually dismisses setbacks as "nothing" and compares them to past movie-making catastrophes he averted.
When the team goes to retrieve Schumann, they discover he is in fact a criminally insane Army prison convict before their plane crashes en route to Andrews Air Force Base. The team survives and is rescued by a farmer, but Schumann attempts to rape the farmer's daughter and the farmer kills him. Motss then stages an elaborate military funeral, claiming that Schumann died from wounds sustained during his rescue.
While watching a political talk show Motss gets frustrated that the media are crediting the president's win to a tired campaign slogan of "Don't change horses in mid-stream" rather than Motss's hard work. Despite previously claiming he was inspired by the challenge, Motss announces that he wants credit and will reveal his involvement, despite Brean's warning that he is "playing with his life". Motss refuses to back down, so Brean reluctantly has him killed and makes it look as if he had a heart attack. The president is successfully re-elected and a news report about a violent incident in Albania is shown, but it is ambiguous whether this is a true event or simply a continuation of the fictional war.
Output: The fictional war is what country?
The President of the United States is caught making advances on an underage "Firefly Girl" less than two weeks before Election Day. Conrad Brean (De Niro), a top-notch spin doctor, is brought in to take the public's attention away from the scandal. He decides to construct a diversionary war with Albania, hoping the media will concentrate on this instead. Brean contacts Hollywood producer Stanley Motss (Hoffman) to create the war, complete with a theme song and fake film footage of a photogenic orphan (Dunst) in Albania.
When the CIA learns of the plot, they send Agent Young (Macy) to confront Brean who convinces him that revealing the deception is against his best interests. The CIA announces that the war has ended, but otherwise maintains the deception and the media begins to turn back to the President's abuse scandal. Motss decides to invent a hero who was left behind enemy lines, and inspired by the idea that he was "discarded like an old shoe" has the Pentagon provide him with a soldier named Schumann (Harrelson) around whom he constructs a further narrative including T-shirts, additional patriotic songs, and faux-grassroots demonstrations of patriotism. At each stage of the plan, Motss continually dismisses setbacks as "nothing" and compares them to past movie-making catastrophes he averted.
When the team goes to retrieve Schumann, they discover he is in fact a criminally insane Army prison convict before their plane crashes en route to Andrews Air Force Base. The team survives and is rescued by a farmer, but Schumann attempts to rape the farmer's daughter and the farmer kills him. Motss then stages an elaborate military funeral, claiming that Schumann died from wounds sustained during his rescue.
While watching a political talk show Motss gets frustrated that the media are crediting the president's win to a tired campaign slogan of "Don't change horses in mid-stream" rather than Motss's hard work. Despite previously claiming he was inspired by the challenge, Motss announces that he wants credit and will reveal his involvement, despite Brean's warning that he is "playing with his life". Motss refuses to back down, so Brean reluctantly has him killed and makes it look as if he had a heart attack. The president is successfully re-elected and a news report about a violent incident in Albania is shown, but it is ambiguous whether this is a true event or simply a continuation of the fictional war.
Output: Who hired Stanley Motss?
The President of the United States is caught making advances on an underage "Firefly Girl" less than two weeks before Election Day. Conrad Brean (De Niro), a top-notch spin doctor, is brought in to take the public's attention away from the scandal. He decides to construct a diversionary war with Albania, hoping the media will concentrate on this instead. Brean contacts Hollywood producer Stanley Motss (Hoffman) to create the war, complete with a theme song and fake film footage of a photogenic orphan (Dunst) in Albania.
When the CIA learns of the plot, they send Agent Young (Macy) to confront Brean who convinces him that revealing the deception is against his best interests. The CIA announces that the war has ended, but otherwise maintains the deception and the media begins to turn back to the President's abuse scandal. Motss decides to invent a hero who was left behind enemy lines, and inspired by the idea that he was "discarded like an old shoe" has the Pentagon provide him with a soldier named Schumann (Harrelson) around whom he constructs a further narrative including T-shirts, additional patriotic songs, and faux-grassroots demonstrations of patriotism. At each stage of the plan, Motss continually dismisses setbacks as "nothing" and compares them to past movie-making catastrophes he averted.
When the team goes to retrieve Schumann, they discover he is in fact a criminally insane Army prison convict before their plane crashes en route to Andrews Air Force Base. The team survives and is rescued by a farmer, but Schumann attempts to rape the farmer's daughter and the farmer kills him. Motss then stages an elaborate military funeral, claiming that Schumann died from wounds sustained during his rescue.
While watching a political talk show Motss gets frustrated that the media are crediting the president's win to a tired campaign slogan of "Don't change horses in mid-stream" rather than Motss's hard work. Despite previously claiming he was inspired by the challenge, Motss announces that he wants credit and will reveal his involvement, despite Brean's warning that he is "playing with his life". Motss refuses to back down, so Brean reluctantly has him killed and makes it look as if he had a heart attack. The president is successfully re-elected and a news report about a violent incident in Albania is shown, but it is ambiguous whether this is a true event or simply a continuation of the fictional war.
Output: Who told Motss about Schumann?
The President of the United States is caught making advances on an underage "Firefly Girl" less than two weeks before Election Day. Conrad Brean (De Niro), a top-notch spin doctor, is brought in to take the public's attention away from the scandal. He decides to construct a diversionary war with Albania, hoping the media will concentrate on this instead. Brean contacts Hollywood producer Stanley Motss (Hoffman) to create the war, complete with a theme song and fake film footage of a photogenic orphan (Dunst) in Albania.
When the CIA learns of the plot, they send Agent Young (Macy) to confront Brean who convinces him that revealing the deception is against his best interests. The CIA announces that the war has ended, but otherwise maintains the deception and the media begins to turn back to the President's abuse scandal. Motss decides to invent a hero who was left behind enemy lines, and inspired by the idea that he was "discarded like an old shoe" has the Pentagon provide him with a soldier named Schumann (Harrelson) around whom he constructs a further narrative including T-shirts, additional patriotic songs, and faux-grassroots demonstrations of patriotism. At each stage of the plan, Motss continually dismisses setbacks as "nothing" and compares them to past movie-making catastrophes he averted.
When the team goes to retrieve Schumann, they discover he is in fact a criminally insane Army prison convict before their plane crashes en route to Andrews Air Force Base. The team survives and is rescued by a farmer, but Schumann attempts to rape the farmer's daughter and the farmer kills him. Motss then stages an elaborate military funeral, claiming that Schumann died from wounds sustained during his rescue.
While watching a political talk show Motss gets frustrated that the media are crediting the president's win to a tired campaign slogan of "Don't change horses in mid-stream" rather than Motss's hard work. Despite previously claiming he was inspired by the challenge, Motss announces that he wants credit and will reveal his involvement, despite Brean's warning that he is "playing with his life". Motss refuses to back down, so Brean reluctantly has him killed and makes it look as if he had a heart attack. The president is successfully re-elected and a news report about a violent incident in Albania is shown, but it is ambiguous whether this is a true event or simply a continuation of the fictional war.
Output: What kind of funeral Schumann had?
The President of the United States is caught making advances on an underage "Firefly Girl" less than two weeks before Election Day. Conrad Brean (De Niro), a top-notch spin doctor, is brought in to take the public's attention away from the scandal. He decides to construct a diversionary war with Albania, hoping the media will concentrate on this instead. Brean contacts Hollywood producer Stanley Motss (Hoffman) to create the war, complete with a theme song and fake film footage of a photogenic orphan (Dunst) in Albania.
When the CIA learns of the plot, they send Agent Young (Macy) to confront Brean who convinces him that revealing the deception is against his best interests. The CIA announces that the war has ended, but otherwise maintains the deception and the media begins to turn back to the President's abuse scandal. Motss decides to invent a hero who was left behind enemy lines, and inspired by the idea that he was "discarded like an old shoe" has the Pentagon provide him with a soldier named Schumann (Harrelson) around whom he constructs a further narrative including T-shirts, additional patriotic songs, and faux-grassroots demonstrations of patriotism. At each stage of the plan, Motss continually dismisses setbacks as "nothing" and compares them to past movie-making catastrophes he averted.
When the team goes to retrieve Schumann, they discover he is in fact a criminally insane Army prison convict before their plane crashes en route to Andrews Air Force Base. The team survives and is rescued by a farmer, but Schumann attempts to rape the farmer's daughter and the farmer kills him. Motss then stages an elaborate military funeral, claiming that Schumann died from wounds sustained during his rescue.
While watching a political talk show Motss gets frustrated that the media are crediting the president's win to a tired campaign slogan of "Don't change horses in mid-stream" rather than Motss's hard work. Despite previously claiming he was inspired by the challenge, Motss announces that he wants credit and will reveal his involvement, despite Brean's warning that he is "playing with his life". Motss refuses to back down, so Brean reluctantly has him killed and makes it look as if he had a heart attack. The president is successfully re-elected and a news report about a violent incident in Albania is shown, but it is ambiguous whether this is a true event or simply a continuation of the fictional war.
Output: What kind of tactic is this fictional war being used as?
The President of the United States is caught making advances on an underage "Firefly Girl" less than two weeks before Election Day. Conrad Brean (De Niro), a top-notch spin doctor, is brought in to take the public's attention away from the scandal. He decides to construct a diversionary war with Albania, hoping the media will concentrate on this instead. Brean contacts Hollywood producer Stanley Motss (Hoffman) to create the war, complete with a theme song and fake film footage of a photogenic orphan (Dunst) in Albania.
When the CIA learns of the plot, they send Agent Young (Macy) to confront Brean who convinces him that revealing the deception is against his best interests. The CIA announces that the war has ended, but otherwise maintains the deception and the media begins to turn back to the President's abuse scandal. Motss decides to invent a hero who was left behind enemy lines, and inspired by the idea that he was "discarded like an old shoe" has the Pentagon provide him with a soldier named Schumann (Harrelson) around whom he constructs a further narrative including T-shirts, additional patriotic songs, and faux-grassroots demonstrations of patriotism. At each stage of the plan, Motss continually dismisses setbacks as "nothing" and compares them to past movie-making catastrophes he averted.
When the team goes to retrieve Schumann, they discover he is in fact a criminally insane Army prison convict before their plane crashes en route to Andrews Air Force Base. The team survives and is rescued by a farmer, but Schumann attempts to rape the farmer's daughter and the farmer kills him. Motss then stages an elaborate military funeral, claiming that Schumann died from wounds sustained during his rescue.
While watching a political talk show Motss gets frustrated that the media are crediting the president's win to a tired campaign slogan of "Don't change horses in mid-stream" rather than Motss's hard work. Despite previously claiming he was inspired by the challenge, Motss announces that he wants credit and will reveal his involvement, despite Brean's warning that he is "playing with his life". Motss refuses to back down, so Brean reluctantly has him killed and makes it look as if he had a heart attack. The president is successfully re-elected and a news report about a violent incident in Albania is shown, but it is ambiguous whether this is a true event or simply a continuation of the fictional war.
Output: Why was Conrad Bean hired?
The President of the United States is caught making advances on an underage "Firefly Girl" less than two weeks before Election Day. Conrad Brean (De Niro), a top-notch spin doctor, is brought in to take the public's attention away from the scandal. He decides to construct a diversionary war with Albania, hoping the media will concentrate on this instead. Brean contacts Hollywood producer Stanley Motss (Hoffman) to create the war, complete with a theme song and fake film footage of a photogenic orphan (Dunst) in Albania.
When the CIA learns of the plot, they send Agent Young (Macy) to confront Brean who convinces him that revealing the deception is against his best interests. The CIA announces that the war has ended, but otherwise maintains the deception and the media begins to turn back to the President's abuse scandal. Motss decides to invent a hero who was left behind enemy lines, and inspired by the idea that he was "discarded like an old shoe" has the Pentagon provide him with a soldier named Schumann (Harrelson) around whom he constructs a further narrative including T-shirts, additional patriotic songs, and faux-grassroots demonstrations of patriotism. At each stage of the plan, Motss continually dismisses setbacks as "nothing" and compares them to past movie-making catastrophes he averted.
When the team goes to retrieve Schumann, they discover he is in fact a criminally insane Army prison convict before their plane crashes en route to Andrews Air Force Base. The team survives and is rescued by a farmer, but Schumann attempts to rape the farmer's daughter and the farmer kills him. Motss then stages an elaborate military funeral, claiming that Schumann died from wounds sustained during his rescue.
While watching a political talk show Motss gets frustrated that the media are crediting the president's win to a tired campaign slogan of "Don't change horses in mid-stream" rather than Motss's hard work. Despite previously claiming he was inspired by the challenge, Motss announces that he wants credit and will reveal his involvement, despite Brean's warning that he is "playing with his life". Motss refuses to back down, so Brean reluctantly has him killed and makes it look as if he had a heart attack. The president is successfully re-elected and a news report about a violent incident in Albania is shown, but it is ambiguous whether this is a true event or simply a continuation of the fictional war.
Output: How does Motss explain Schumann's death?
The President of the United States is caught making advances on an underage "Firefly Girl" less than two weeks before Election Day. Conrad Brean (De Niro), a top-notch spin doctor, is brought in to take the public's attention away from the scandal. He decides to construct a diversionary war with Albania, hoping the media will concentrate on this instead. Brean contacts Hollywood producer Stanley Motss (Hoffman) to create the war, complete with a theme song and fake film footage of a photogenic orphan (Dunst) in Albania.
When the CIA learns of the plot, they send Agent Young (Macy) to confront Brean who convinces him that revealing the deception is against his best interests. The CIA announces that the war has ended, but otherwise maintains the deception and the media begins to turn back to the President's abuse scandal. Motss decides to invent a hero who was left behind enemy lines, and inspired by the idea that he was "discarded like an old shoe" has the Pentagon provide him with a soldier named Schumann (Harrelson) around whom he constructs a further narrative including T-shirts, additional patriotic songs, and faux-grassroots demonstrations of patriotism. At each stage of the plan, Motss continually dismisses setbacks as "nothing" and compares them to past movie-making catastrophes he averted.
When the team goes to retrieve Schumann, they discover he is in fact a criminally insane Army prison convict before their plane crashes en route to Andrews Air Force Base. The team survives and is rescued by a farmer, but Schumann attempts to rape the farmer's daughter and the farmer kills him. Motss then stages an elaborate military funeral, claiming that Schumann died from wounds sustained during his rescue.
While watching a political talk show Motss gets frustrated that the media are crediting the president's win to a tired campaign slogan of "Don't change horses in mid-stream" rather than Motss's hard work. Despite previously claiming he was inspired by the challenge, Motss announces that he wants credit and will reveal his involvement, despite Brean's warning that he is "playing with his life". Motss refuses to back down, so Brean reluctantly has him killed and makes it look as if he had a heart attack. The president is successfully re-elected and a news report about a violent incident in Albania is shown, but it is ambiguous whether this is a true event or simply a continuation of the fictional war.
Output: What is the profession of Conrad Breane, the man who is hired to take the publics attention away from the scandal?
The President of the United States is caught making advances on an underage "Firefly Girl" less than two weeks before Election Day. Conrad Brean (De Niro), a top-notch spin doctor, is brought in to take the public's attention away from the scandal. He decides to construct a diversionary war with Albania, hoping the media will concentrate on this instead. Brean contacts Hollywood producer Stanley Motss (Hoffman) to create the war, complete with a theme song and fake film footage of a photogenic orphan (Dunst) in Albania.
When the CIA learns of the plot, they send Agent Young (Macy) to confront Brean who convinces him that revealing the deception is against his best interests. The CIA announces that the war has ended, but otherwise maintains the deception and the media begins to turn back to the President's abuse scandal. Motss decides to invent a hero who was left behind enemy lines, and inspired by the idea that he was "discarded like an old shoe" has the Pentagon provide him with a soldier named Schumann (Harrelson) around whom he constructs a further narrative including T-shirts, additional patriotic songs, and faux-grassroots demonstrations of patriotism. At each stage of the plan, Motss continually dismisses setbacks as "nothing" and compares them to past movie-making catastrophes he averted.
When the team goes to retrieve Schumann, they discover he is in fact a criminally insane Army prison convict before their plane crashes en route to Andrews Air Force Base. The team survives and is rescued by a farmer, but Schumann attempts to rape the farmer's daughter and the farmer kills him. Motss then stages an elaborate military funeral, claiming that Schumann died from wounds sustained during his rescue.
While watching a political talk show Motss gets frustrated that the media are crediting the president's win to a tired campaign slogan of "Don't change horses in mid-stream" rather than Motss's hard work. Despite previously claiming he was inspired by the challenge, Motss announces that he wants credit and will reveal his involvement, despite Brean's warning that he is "playing with his life". Motss refuses to back down, so Brean reluctantly has him killed and makes it look as if he had a heart attack. The president is successfully re-elected and a news report about a violent incident in Albania is shown, but it is ambiguous whether this is a true event or simply a continuation of the fictional war.
Output: Who is the real Schumann?
The play is set in a fictionalised version of the Kingdom of Sicily, ruled by an otherwise-unnamed king. This king's father and predecessor, the ruler of Southern Italy (the Kingdom of Naples), had conquered the island of Sicily and displaced the native royal house; but the heir of that house, and rightful king of Sicily, is Philaster, who lives as a nobleman in the royal court. The king fears him, but cannot kill him, because of the passionate loyalty of the people. The king has a plan, however: with no son of his own, he will marry his daughter Arethusa to a Spanish prince named Pharamond, and make the Spaniard his heir.
Arethusa, however, is in love with Philaster, and disdains the Spaniard. Philaster reciprocates the princess's affections, and sends his page Bellario to serve her and to be their intermediary. Arethusa is able to frustrate her father's plan by exposing Pharamond's affair with Megra, a loose gentlewoman of the court; but the Spaniard seeks revenge, by spreading reports that Arethusa is having an affair with Bellario. The passionate Philaster is deceived by the slander, and accepts it as true. During a hunt, Philaster confronts Arethusa; the overwrought protagonist stabs the princess (the incident that gives the play its subtitle). Philaster is interrupted by a passing countryman; they fight, and both men are wounded. Philaster crawls off, and Arethusa is discovered by nobles of the court.
Arethusa's and Philaster's wounds are not fatal; both recover. Philaster is found, arrested, and sentenced to death. The king places Philaster in Arethusa's custody; she quickly marries him, which causes the king to decree her death as well. The executions are frustrated when the rebellious citizens capture Pharamond and hold him hostage. The falsehood of Pharamond's accusation against Arethusa is exposed when Bellario is revealed to be a disguised female (she is Eufrasia, a courtier's daughter, infatuated with Philaster). Pharamond retreats to Spain. Since the rightful ruler of Sicily is now the king's son and no alternative presents itself, Philaster is restored to his crown.
In creating the play, Beaumont and Fletcher were influenced by the works of Sir Philip Sidney, especially the Arcadia. The play bears relationships with a range of contemporaneous works, including The Faithful Shepherdess and Cymbeline.
Output: In what country did this story take place?
The play is set in a fictionalised version of the Kingdom of Sicily, ruled by an otherwise-unnamed king. This king's father and predecessor, the ruler of Southern Italy (the Kingdom of Naples), had conquered the island of Sicily and displaced the native royal house; but the heir of that house, and rightful king of Sicily, is Philaster, who lives as a nobleman in the royal court. The king fears him, but cannot kill him, because of the passionate loyalty of the people. The king has a plan, however: with no son of his own, he will marry his daughter Arethusa to a Spanish prince named Pharamond, and make the Spaniard his heir.
Arethusa, however, is in love with Philaster, and disdains the Spaniard. Philaster reciprocates the princess's affections, and sends his page Bellario to serve her and to be their intermediary. Arethusa is able to frustrate her father's plan by exposing Pharamond's affair with Megra, a loose gentlewoman of the court; but the Spaniard seeks revenge, by spreading reports that Arethusa is having an affair with Bellario. The passionate Philaster is deceived by the slander, and accepts it as true. During a hunt, Philaster confronts Arethusa; the overwrought protagonist stabs the princess (the incident that gives the play its subtitle). Philaster is interrupted by a passing countryman; they fight, and both men are wounded. Philaster crawls off, and Arethusa is discovered by nobles of the court.
Arethusa's and Philaster's wounds are not fatal; both recover. Philaster is found, arrested, and sentenced to death. The king places Philaster in Arethusa's custody; she quickly marries him, which causes the king to decree her death as well. The executions are frustrated when the rebellious citizens capture Pharamond and hold him hostage. The falsehood of Pharamond's accusation against Arethusa is exposed when Bellario is revealed to be a disguised female (she is Eufrasia, a courtier's daughter, infatuated with Philaster). Pharamond retreats to Spain. Since the rightful ruler of Sicily is now the king's son and no alternative presents itself, Philaster is restored to his crown.
In creating the play, Beaumont and Fletcher were influenced by the works of Sir Philip Sidney, especially the Arcadia. The play bears relationships with a range of contemporaneous works, including The Faithful Shepherdess and Cymbeline.
Output: Who is the king's daughter?
The play is set in a fictionalised version of the Kingdom of Sicily, ruled by an otherwise-unnamed king. This king's father and predecessor, the ruler of Southern Italy (the Kingdom of Naples), had conquered the island of Sicily and displaced the native royal house; but the heir of that house, and rightful king of Sicily, is Philaster, who lives as a nobleman in the royal court. The king fears him, but cannot kill him, because of the passionate loyalty of the people. The king has a plan, however: with no son of his own, he will marry his daughter Arethusa to a Spanish prince named Pharamond, and make the Spaniard his heir.
Arethusa, however, is in love with Philaster, and disdains the Spaniard. Philaster reciprocates the princess's affections, and sends his page Bellario to serve her and to be their intermediary. Arethusa is able to frustrate her father's plan by exposing Pharamond's affair with Megra, a loose gentlewoman of the court; but the Spaniard seeks revenge, by spreading reports that Arethusa is having an affair with Bellario. The passionate Philaster is deceived by the slander, and accepts it as true. During a hunt, Philaster confronts Arethusa; the overwrought protagonist stabs the princess (the incident that gives the play its subtitle). Philaster is interrupted by a passing countryman; they fight, and both men are wounded. Philaster crawls off, and Arethusa is discovered by nobles of the court.
Arethusa's and Philaster's wounds are not fatal; both recover. Philaster is found, arrested, and sentenced to death. The king places Philaster in Arethusa's custody; she quickly marries him, which causes the king to decree her death as well. The executions are frustrated when the rebellious citizens capture Pharamond and hold him hostage. The falsehood of Pharamond's accusation against Arethusa is exposed when Bellario is revealed to be a disguised female (she is Eufrasia, a courtier's daughter, infatuated with Philaster). Pharamond retreats to Spain. Since the rightful ruler of Sicily is now the king's son and no alternative presents itself, Philaster is restored to his crown.
In creating the play, Beaumont and Fletcher were influenced by the works of Sir Philip Sidney, especially the Arcadia. The play bears relationships with a range of contemporaneous works, including The Faithful Shepherdess and Cymbeline.
Output: To whom was Arethusa arranged to marry?
The play is set in a fictionalised version of the Kingdom of Sicily, ruled by an otherwise-unnamed king. This king's father and predecessor, the ruler of Southern Italy (the Kingdom of Naples), had conquered the island of Sicily and displaced the native royal house; but the heir of that house, and rightful king of Sicily, is Philaster, who lives as a nobleman in the royal court. The king fears him, but cannot kill him, because of the passionate loyalty of the people. The king has a plan, however: with no son of his own, he will marry his daughter Arethusa to a Spanish prince named Pharamond, and make the Spaniard his heir.
Arethusa, however, is in love with Philaster, and disdains the Spaniard. Philaster reciprocates the princess's affections, and sends his page Bellario to serve her and to be their intermediary. Arethusa is able to frustrate her father's plan by exposing Pharamond's affair with Megra, a loose gentlewoman of the court; but the Spaniard seeks revenge, by spreading reports that Arethusa is having an affair with Bellario. The passionate Philaster is deceived by the slander, and accepts it as true. During a hunt, Philaster confronts Arethusa; the overwrought protagonist stabs the princess (the incident that gives the play its subtitle). Philaster is interrupted by a passing countryman; they fight, and both men are wounded. Philaster crawls off, and Arethusa is discovered by nobles of the court.
Arethusa's and Philaster's wounds are not fatal; both recover. Philaster is found, arrested, and sentenced to death. The king places Philaster in Arethusa's custody; she quickly marries him, which causes the king to decree her death as well. The executions are frustrated when the rebellious citizens capture Pharamond and hold him hostage. The falsehood of Pharamond's accusation against Arethusa is exposed when Bellario is revealed to be a disguised female (she is Eufrasia, a courtier's daughter, infatuated with Philaster). Pharamond retreats to Spain. Since the rightful ruler of Sicily is now the king's son and no alternative presents itself, Philaster is restored to his crown.
In creating the play, Beaumont and Fletcher were influenced by the works of Sir Philip Sidney, especially the Arcadia. The play bears relationships with a range of contemporaneous works, including The Faithful Shepherdess and Cymbeline.
Output: Where is Pharamond from?
The play is set in a fictionalised version of the Kingdom of Sicily, ruled by an otherwise-unnamed king. This king's father and predecessor, the ruler of Southern Italy (the Kingdom of Naples), had conquered the island of Sicily and displaced the native royal house; but the heir of that house, and rightful king of Sicily, is Philaster, who lives as a nobleman in the royal court. The king fears him, but cannot kill him, because of the passionate loyalty of the people. The king has a plan, however: with no son of his own, he will marry his daughter Arethusa to a Spanish prince named Pharamond, and make the Spaniard his heir.
Arethusa, however, is in love with Philaster, and disdains the Spaniard. Philaster reciprocates the princess's affections, and sends his page Bellario to serve her and to be their intermediary. Arethusa is able to frustrate her father's plan by exposing Pharamond's affair with Megra, a loose gentlewoman of the court; but the Spaniard seeks revenge, by spreading reports that Arethusa is having an affair with Bellario. The passionate Philaster is deceived by the slander, and accepts it as true. During a hunt, Philaster confronts Arethusa; the overwrought protagonist stabs the princess (the incident that gives the play its subtitle). Philaster is interrupted by a passing countryman; they fight, and both men are wounded. Philaster crawls off, and Arethusa is discovered by nobles of the court.
Arethusa's and Philaster's wounds are not fatal; both recover. Philaster is found, arrested, and sentenced to death. The king places Philaster in Arethusa's custody; she quickly marries him, which causes the king to decree her death as well. The executions are frustrated when the rebellious citizens capture Pharamond and hold him hostage. The falsehood of Pharamond's accusation against Arethusa is exposed when Bellario is revealed to be a disguised female (she is Eufrasia, a courtier's daughter, infatuated with Philaster). Pharamond retreats to Spain. Since the rightful ruler of Sicily is now the king's son and no alternative presents itself, Philaster is restored to his crown.
In creating the play, Beaumont and Fletcher were influenced by the works of Sir Philip Sidney, especially the Arcadia. The play bears relationships with a range of contemporaneous works, including The Faithful Shepherdess and Cymbeline.
Output: Whom does the Arethusa love?
The play is set in a fictionalised version of the Kingdom of Sicily, ruled by an otherwise-unnamed king. This king's father and predecessor, the ruler of Southern Italy (the Kingdom of Naples), had conquered the island of Sicily and displaced the native royal house; but the heir of that house, and rightful king of Sicily, is Philaster, who lives as a nobleman in the royal court. The king fears him, but cannot kill him, because of the passionate loyalty of the people. The king has a plan, however: with no son of his own, he will marry his daughter Arethusa to a Spanish prince named Pharamond, and make the Spaniard his heir.
Arethusa, however, is in love with Philaster, and disdains the Spaniard. Philaster reciprocates the princess's affections, and sends his page Bellario to serve her and to be their intermediary. Arethusa is able to frustrate her father's plan by exposing Pharamond's affair with Megra, a loose gentlewoman of the court; but the Spaniard seeks revenge, by spreading reports that Arethusa is having an affair with Bellario. The passionate Philaster is deceived by the slander, and accepts it as true. During a hunt, Philaster confronts Arethusa; the overwrought protagonist stabs the princess (the incident that gives the play its subtitle). Philaster is interrupted by a passing countryman; they fight, and both men are wounded. Philaster crawls off, and Arethusa is discovered by nobles of the court.
Arethusa's and Philaster's wounds are not fatal; both recover. Philaster is found, arrested, and sentenced to death. The king places Philaster in Arethusa's custody; she quickly marries him, which causes the king to decree her death as well. The executions are frustrated when the rebellious citizens capture Pharamond and hold him hostage. The falsehood of Pharamond's accusation against Arethusa is exposed when Bellario is revealed to be a disguised female (she is Eufrasia, a courtier's daughter, infatuated with Philaster). Pharamond retreats to Spain. Since the rightful ruler of Sicily is now the king's son and no alternative presents itself, Philaster is restored to his crown.
In creating the play, Beaumont and Fletcher were influenced by the works of Sir Philip Sidney, especially the Arcadia. The play bears relationships with a range of contemporaneous works, including The Faithful Shepherdess and Cymbeline.
Output: Although there were many rumors in the land, which two people were actually having an affair?
The play is set in a fictionalised version of the Kingdom of Sicily, ruled by an otherwise-unnamed king. This king's father and predecessor, the ruler of Southern Italy (the Kingdom of Naples), had conquered the island of Sicily and displaced the native royal house; but the heir of that house, and rightful king of Sicily, is Philaster, who lives as a nobleman in the royal court. The king fears him, but cannot kill him, because of the passionate loyalty of the people. The king has a plan, however: with no son of his own, he will marry his daughter Arethusa to a Spanish prince named Pharamond, and make the Spaniard his heir.
Arethusa, however, is in love with Philaster, and disdains the Spaniard. Philaster reciprocates the princess's affections, and sends his page Bellario to serve her and to be their intermediary. Arethusa is able to frustrate her father's plan by exposing Pharamond's affair with Megra, a loose gentlewoman of the court; but the Spaniard seeks revenge, by spreading reports that Arethusa is having an affair with Bellario. The passionate Philaster is deceived by the slander, and accepts it as true. During a hunt, Philaster confronts Arethusa; the overwrought protagonist stabs the princess (the incident that gives the play its subtitle). Philaster is interrupted by a passing countryman; they fight, and both men are wounded. Philaster crawls off, and Arethusa is discovered by nobles of the court.
Arethusa's and Philaster's wounds are not fatal; both recover. Philaster is found, arrested, and sentenced to death. The king places Philaster in Arethusa's custody; she quickly marries him, which causes the king to decree her death as well. The executions are frustrated when the rebellious citizens capture Pharamond and hold him hostage. The falsehood of Pharamond's accusation against Arethusa is exposed when Bellario is revealed to be a disguised female (she is Eufrasia, a courtier's daughter, infatuated with Philaster). Pharamond retreats to Spain. Since the rightful ruler of Sicily is now the king's son and no alternative presents itself, Philaster is restored to his crown.
In creating the play, Beaumont and Fletcher were influenced by the works of Sir Philip Sidney, especially the Arcadia. The play bears relationships with a range of contemporaneous works, including The Faithful Shepherdess and Cymbeline.
Output: What does Philaster do when he confronts Arethusa about cheating on him?
The play is set in a fictionalised version of the Kingdom of Sicily, ruled by an otherwise-unnamed king. This king's father and predecessor, the ruler of Southern Italy (the Kingdom of Naples), had conquered the island of Sicily and displaced the native royal house; but the heir of that house, and rightful king of Sicily, is Philaster, who lives as a nobleman in the royal court. The king fears him, but cannot kill him, because of the passionate loyalty of the people. The king has a plan, however: with no son of his own, he will marry his daughter Arethusa to a Spanish prince named Pharamond, and make the Spaniard his heir.
Arethusa, however, is in love with Philaster, and disdains the Spaniard. Philaster reciprocates the princess's affections, and sends his page Bellario to serve her and to be their intermediary. Arethusa is able to frustrate her father's plan by exposing Pharamond's affair with Megra, a loose gentlewoman of the court; but the Spaniard seeks revenge, by spreading reports that Arethusa is having an affair with Bellario. The passionate Philaster is deceived by the slander, and accepts it as true. During a hunt, Philaster confronts Arethusa; the overwrought protagonist stabs the princess (the incident that gives the play its subtitle). Philaster is interrupted by a passing countryman; they fight, and both men are wounded. Philaster crawls off, and Arethusa is discovered by nobles of the court.
Arethusa's and Philaster's wounds are not fatal; both recover. Philaster is found, arrested, and sentenced to death. The king places Philaster in Arethusa's custody; she quickly marries him, which causes the king to decree her death as well. The executions are frustrated when the rebellious citizens capture Pharamond and hold him hostage. The falsehood of Pharamond's accusation against Arethusa is exposed when Bellario is revealed to be a disguised female (she is Eufrasia, a courtier's daughter, infatuated with Philaster). Pharamond retreats to Spain. Since the rightful ruler of Sicily is now the king's son and no alternative presents itself, Philaster is restored to his crown.
In creating the play, Beaumont and Fletcher were influenced by the works of Sir Philip Sidney, especially the Arcadia. The play bears relationships with a range of contemporaneous works, including The Faithful Shepherdess and Cymbeline.
Output: What secret of Bellario's is revealed near the end of the story?
The play is set in a fictionalised version of the Kingdom of Sicily, ruled by an otherwise-unnamed king. This king's father and predecessor, the ruler of Southern Italy (the Kingdom of Naples), had conquered the island of Sicily and displaced the native royal house; but the heir of that house, and rightful king of Sicily, is Philaster, who lives as a nobleman in the royal court. The king fears him, but cannot kill him, because of the passionate loyalty of the people. The king has a plan, however: with no son of his own, he will marry his daughter Arethusa to a Spanish prince named Pharamond, and make the Spaniard his heir.
Arethusa, however, is in love with Philaster, and disdains the Spaniard. Philaster reciprocates the princess's affections, and sends his page Bellario to serve her and to be their intermediary. Arethusa is able to frustrate her father's plan by exposing Pharamond's affair with Megra, a loose gentlewoman of the court; but the Spaniard seeks revenge, by spreading reports that Arethusa is having an affair with Bellario. The passionate Philaster is deceived by the slander, and accepts it as true. During a hunt, Philaster confronts Arethusa; the overwrought protagonist stabs the princess (the incident that gives the play its subtitle). Philaster is interrupted by a passing countryman; they fight, and both men are wounded. Philaster crawls off, and Arethusa is discovered by nobles of the court.
Arethusa's and Philaster's wounds are not fatal; both recover. Philaster is found, arrested, and sentenced to death. The king places Philaster in Arethusa's custody; she quickly marries him, which causes the king to decree her death as well. The executions are frustrated when the rebellious citizens capture Pharamond and hold him hostage. The falsehood of Pharamond's accusation against Arethusa is exposed when Bellario is revealed to be a disguised female (she is Eufrasia, a courtier's daughter, infatuated with Philaster). Pharamond retreats to Spain. Since the rightful ruler of Sicily is now the king's son and no alternative presents itself, Philaster is restored to his crown.
In creating the play, Beaumont and Fletcher were influenced by the works of Sir Philip Sidney, especially the Arcadia. The play bears relationships with a range of contemporaneous works, including The Faithful Shepherdess and Cymbeline.
Output: Who is Arethusa really in love with?
The play is set in a fictionalised version of the Kingdom of Sicily, ruled by an otherwise-unnamed king. This king's father and predecessor, the ruler of Southern Italy (the Kingdom of Naples), had conquered the island of Sicily and displaced the native royal house; but the heir of that house, and rightful king of Sicily, is Philaster, who lives as a nobleman in the royal court. The king fears him, but cannot kill him, because of the passionate loyalty of the people. The king has a plan, however: with no son of his own, he will marry his daughter Arethusa to a Spanish prince named Pharamond, and make the Spaniard his heir.
Arethusa, however, is in love with Philaster, and disdains the Spaniard. Philaster reciprocates the princess's affections, and sends his page Bellario to serve her and to be their intermediary. Arethusa is able to frustrate her father's plan by exposing Pharamond's affair with Megra, a loose gentlewoman of the court; but the Spaniard seeks revenge, by spreading reports that Arethusa is having an affair with Bellario. The passionate Philaster is deceived by the slander, and accepts it as true. During a hunt, Philaster confronts Arethusa; the overwrought protagonist stabs the princess (the incident that gives the play its subtitle). Philaster is interrupted by a passing countryman; they fight, and both men are wounded. Philaster crawls off, and Arethusa is discovered by nobles of the court.
Arethusa's and Philaster's wounds are not fatal; both recover. Philaster is found, arrested, and sentenced to death. The king places Philaster in Arethusa's custody; she quickly marries him, which causes the king to decree her death as well. The executions are frustrated when the rebellious citizens capture Pharamond and hold him hostage. The falsehood of Pharamond's accusation against Arethusa is exposed when Bellario is revealed to be a disguised female (she is Eufrasia, a courtier's daughter, infatuated with Philaster). Pharamond retreats to Spain. Since the rightful ruler of Sicily is now the king's son and no alternative presents itself, Philaster is restored to his crown.
In creating the play, Beaumont and Fletcher were influenced by the works of Sir Philip Sidney, especially the Arcadia. The play bears relationships with a range of contemporaneous works, including The Faithful Shepherdess and Cymbeline.
Output: Who is the rightful king of Sicily?