niryuu/sni-each-converted huggingface dataset:
The Warden concerns Mr Septimus Harding, the meek, elderly warden of Hiram's Hospital and precentor of Barchester Cathedral, in the fictional county of Barsetshire.
Hiram's Hospital is an almshouse supported by a medieval charitable bequest to the Diocese of Barchester. The income maintains the almshouse itself, supports its twelve bedesmen, and, in addition, provides a comfortable abode and living for its warden. Mr Harding was appointed to this position through the patronage of his old friend the Bishop of Barchester, who is also the father of Archdeacon Grantly to whom Harding's older daughter, Susan, is married. The warden, who lives with his remaining child, an unmarried younger daughter Eleanor, performs his duties conscientiously.
The story concerns the impact upon Harding and his circle when a zealous young reformer, John Bold, launches a campaign to expose the disparity in the apportionment of the charity's income between its object, the bedesmen, and its officer, Mr Harding. John Bold embarks on this campaign in a spirit of public duty despite his romantic involvement with Eleanor and previously cordial relations with Mr Harding. Bold starts a lawsuit and Mr Harding is advised by the indomitable Dr Grantly, his son-in-law, to stand his ground.
Bold attempts to enlist the support of the press and engages the interest of The Jupiter (a newspaper representing The Times) whose editor, Tom Towers, pens editorials supporting reform of the charity, and presenting a portrait of Mr Harding as selfish and derelict in his conduct of his office. This image is taken up by commentators Dr Pessimist Anticant, and Mr Popular Sentiment, who have been seen as caricatures of Thomas Carlyle and Charles Dickens respectively.
Ultimately, despite much browbeating by his son-in-law, the Archdeacon, and the legal opinion solicited from the barrister, Sir Abraham Haphazard, Mr Harding concludes that he cannot in good conscience continue to accept such generous remuneration and resigns the office. John Bold, who has appealed in vain to Tom Towers to redress the injury to Mr Harding, returns to Barchester where he marries Eleanor after halting legal proceedings.
Those of the bedesmen of the hospital who have allowed their appetite for greater income to estrange them from the warden are reproved by their senior member, Bunce, who has been constantly loyal to Harding whose good care and understanding heart are now lost to them. At the end of the novel the bishop decides that the wardenship of Hiram's Hospital be left vacant, and none of the bedesmen are offered the extra money despite the vacancy of the post. Mr Harding, on the other hand, becomes Rector of St. Cuthbert's, a small parish near the Cathedral Close, drawing a much smaller income than before.
Output: Who is the warden of Hiriam's Hospital?
The Warden concerns Mr Septimus Harding, the meek, elderly warden of Hiram's Hospital and precentor of Barchester Cathedral, in the fictional county of Barsetshire.
Hiram's Hospital is an almshouse supported by a medieval charitable bequest to the Diocese of Barchester. The income maintains the almshouse itself, supports its twelve bedesmen, and, in addition, provides a comfortable abode and living for its warden. Mr Harding was appointed to this position through the patronage of his old friend the Bishop of Barchester, who is also the father of Archdeacon Grantly to whom Harding's older daughter, Susan, is married. The warden, who lives with his remaining child, an unmarried younger daughter Eleanor, performs his duties conscientiously.
The story concerns the impact upon Harding and his circle when a zealous young reformer, John Bold, launches a campaign to expose the disparity in the apportionment of the charity's income between its object, the bedesmen, and its officer, Mr Harding. John Bold embarks on this campaign in a spirit of public duty despite his romantic involvement with Eleanor and previously cordial relations with Mr Harding. Bold starts a lawsuit and Mr Harding is advised by the indomitable Dr Grantly, his son-in-law, to stand his ground.
Bold attempts to enlist the support of the press and engages the interest of The Jupiter (a newspaper representing The Times) whose editor, Tom Towers, pens editorials supporting reform of the charity, and presenting a portrait of Mr Harding as selfish and derelict in his conduct of his office. This image is taken up by commentators Dr Pessimist Anticant, and Mr Popular Sentiment, who have been seen as caricatures of Thomas Carlyle and Charles Dickens respectively.
Ultimately, despite much browbeating by his son-in-law, the Archdeacon, and the legal opinion solicited from the barrister, Sir Abraham Haphazard, Mr Harding concludes that he cannot in good conscience continue to accept such generous remuneration and resigns the office. John Bold, who has appealed in vain to Tom Towers to redress the injury to Mr Harding, returns to Barchester where he marries Eleanor after halting legal proceedings.
Those of the bedesmen of the hospital who have allowed their appetite for greater income to estrange them from the warden are reproved by their senior member, Bunce, who has been constantly loyal to Harding whose good care and understanding heart are now lost to them. At the end of the novel the bishop decides that the wardenship of Hiram's Hospital be left vacant, and none of the bedesmen are offered the extra money despite the vacancy of the post. Mr Harding, on the other hand, becomes Rector of St. Cuthbert's, a small parish near the Cathedral Close, drawing a much smaller income than before.
Output: When does Mr. Harding decide to resign as warden?
The Warden concerns Mr Septimus Harding, the meek, elderly warden of Hiram's Hospital and precentor of Barchester Cathedral, in the fictional county of Barsetshire.
Hiram's Hospital is an almshouse supported by a medieval charitable bequest to the Diocese of Barchester. The income maintains the almshouse itself, supports its twelve bedesmen, and, in addition, provides a comfortable abode and living for its warden. Mr Harding was appointed to this position through the patronage of his old friend the Bishop of Barchester, who is also the father of Archdeacon Grantly to whom Harding's older daughter, Susan, is married. The warden, who lives with his remaining child, an unmarried younger daughter Eleanor, performs his duties conscientiously.
The story concerns the impact upon Harding and his circle when a zealous young reformer, John Bold, launches a campaign to expose the disparity in the apportionment of the charity's income between its object, the bedesmen, and its officer, Mr Harding. John Bold embarks on this campaign in a spirit of public duty despite his romantic involvement with Eleanor and previously cordial relations with Mr Harding. Bold starts a lawsuit and Mr Harding is advised by the indomitable Dr Grantly, his son-in-law, to stand his ground.
Bold attempts to enlist the support of the press and engages the interest of The Jupiter (a newspaper representing The Times) whose editor, Tom Towers, pens editorials supporting reform of the charity, and presenting a portrait of Mr Harding as selfish and derelict in his conduct of his office. This image is taken up by commentators Dr Pessimist Anticant, and Mr Popular Sentiment, who have been seen as caricatures of Thomas Carlyle and Charles Dickens respectively.
Ultimately, despite much browbeating by his son-in-law, the Archdeacon, and the legal opinion solicited from the barrister, Sir Abraham Haphazard, Mr Harding concludes that he cannot in good conscience continue to accept such generous remuneration and resigns the office. John Bold, who has appealed in vain to Tom Towers to redress the injury to Mr Harding, returns to Barchester where he marries Eleanor after halting legal proceedings.
Those of the bedesmen of the hospital who have allowed their appetite for greater income to estrange them from the warden are reproved by their senior member, Bunce, who has been constantly loyal to Harding whose good care and understanding heart are now lost to them. At the end of the novel the bishop decides that the wardenship of Hiram's Hospital be left vacant, and none of the bedesmen are offered the extra money despite the vacancy of the post. Mr Harding, on the other hand, becomes Rector of St. Cuthbert's, a small parish near the Cathedral Close, drawing a much smaller income than before.
Output: How does the hospital gets it income?
The Warden concerns Mr Septimus Harding, the meek, elderly warden of Hiram's Hospital and precentor of Barchester Cathedral, in the fictional county of Barsetshire.
Hiram's Hospital is an almshouse supported by a medieval charitable bequest to the Diocese of Barchester. The income maintains the almshouse itself, supports its twelve bedesmen, and, in addition, provides a comfortable abode and living for its warden. Mr Harding was appointed to this position through the patronage of his old friend the Bishop of Barchester, who is also the father of Archdeacon Grantly to whom Harding's older daughter, Susan, is married. The warden, who lives with his remaining child, an unmarried younger daughter Eleanor, performs his duties conscientiously.
The story concerns the impact upon Harding and his circle when a zealous young reformer, John Bold, launches a campaign to expose the disparity in the apportionment of the charity's income between its object, the bedesmen, and its officer, Mr Harding. John Bold embarks on this campaign in a spirit of public duty despite his romantic involvement with Eleanor and previously cordial relations with Mr Harding. Bold starts a lawsuit and Mr Harding is advised by the indomitable Dr Grantly, his son-in-law, to stand his ground.
Bold attempts to enlist the support of the press and engages the interest of The Jupiter (a newspaper representing The Times) whose editor, Tom Towers, pens editorials supporting reform of the charity, and presenting a portrait of Mr Harding as selfish and derelict in his conduct of his office. This image is taken up by commentators Dr Pessimist Anticant, and Mr Popular Sentiment, who have been seen as caricatures of Thomas Carlyle and Charles Dickens respectively.
Ultimately, despite much browbeating by his son-in-law, the Archdeacon, and the legal opinion solicited from the barrister, Sir Abraham Haphazard, Mr Harding concludes that he cannot in good conscience continue to accept such generous remuneration and resigns the office. John Bold, who has appealed in vain to Tom Towers to redress the injury to Mr Harding, returns to Barchester where he marries Eleanor after halting legal proceedings.
Those of the bedesmen of the hospital who have allowed their appetite for greater income to estrange them from the warden are reproved by their senior member, Bunce, who has been constantly loyal to Harding whose good care and understanding heart are now lost to them. At the end of the novel the bishop decides that the wardenship of Hiram's Hospital be left vacant, and none of the bedesmen are offered the extra money despite the vacancy of the post. Mr Harding, on the other hand, becomes Rector of St. Cuthbert's, a small parish near the Cathedral Close, drawing a much smaller income than before.
Output: How many bedesman are at Hiram's Hospital?
The Warden concerns Mr Septimus Harding, the meek, elderly warden of Hiram's Hospital and precentor of Barchester Cathedral, in the fictional county of Barsetshire.
Hiram's Hospital is an almshouse supported by a medieval charitable bequest to the Diocese of Barchester. The income maintains the almshouse itself, supports its twelve bedesmen, and, in addition, provides a comfortable abode and living for its warden. Mr Harding was appointed to this position through the patronage of his old friend the Bishop of Barchester, who is also the father of Archdeacon Grantly to whom Harding's older daughter, Susan, is married. The warden, who lives with his remaining child, an unmarried younger daughter Eleanor, performs his duties conscientiously.
The story concerns the impact upon Harding and his circle when a zealous young reformer, John Bold, launches a campaign to expose the disparity in the apportionment of the charity's income between its object, the bedesmen, and its officer, Mr Harding. John Bold embarks on this campaign in a spirit of public duty despite his romantic involvement with Eleanor and previously cordial relations with Mr Harding. Bold starts a lawsuit and Mr Harding is advised by the indomitable Dr Grantly, his son-in-law, to stand his ground.
Bold attempts to enlist the support of the press and engages the interest of The Jupiter (a newspaper representing The Times) whose editor, Tom Towers, pens editorials supporting reform of the charity, and presenting a portrait of Mr Harding as selfish and derelict in his conduct of his office. This image is taken up by commentators Dr Pessimist Anticant, and Mr Popular Sentiment, who have been seen as caricatures of Thomas Carlyle and Charles Dickens respectively.
Ultimately, despite much browbeating by his son-in-law, the Archdeacon, and the legal opinion solicited from the barrister, Sir Abraham Haphazard, Mr Harding concludes that he cannot in good conscience continue to accept such generous remuneration and resigns the office. John Bold, who has appealed in vain to Tom Towers to redress the injury to Mr Harding, returns to Barchester where he marries Eleanor after halting legal proceedings.
Those of the bedesmen of the hospital who have allowed their appetite for greater income to estrange them from the warden are reproved by their senior member, Bunce, who has been constantly loyal to Harding whose good care and understanding heart are now lost to them. At the end of the novel the bishop decides that the wardenship of Hiram's Hospital be left vacant, and none of the bedesmen are offered the extra money despite the vacancy of the post. Mr Harding, on the other hand, becomes Rector of St. Cuthbert's, a small parish near the Cathedral Close, drawing a much smaller income than before.
Output: How is Hiram's Hospital supported?
The first book of the History, after a brief review of early Greek history and some programmatic historiographical commentary, seeks to explain why the Peloponnesian War broke out when it did and what its causes were. Except for a few short excursuses (notably 6.54-58 on the Tyrant Slayers), the remainder of the History (books 2 through 8) rigidly maintains its focus on the Peloponnesian War to the exclusion of other topics.
While the History concentrates on the military aspects of the Peloponnesian War, it uses these events as a medium to suggest several other themes closely related to the war. It specifically discusses in several passages the socially and culturally degenerative effects of war on humanity itself. The History is especially concerned with the lawlessness and atrocities committed by Greek citizens to each other in the name of one side or another in the war. Some events depicted in the History, such as the Melian dialogue, describe early instances of realpolitik or power politics.
The History is preoccupied with the interplay of justice and power in political and military decision-making. Thucydides' presentation is decidedly ambivalent on this theme. While the History seems to suggest that considerations of justice are artificial and necessarily capitulate to power, it sometimes also shows a significant degree of empathy with those who suffer from the exigencies of the war.
For the most part, the History does not discuss topics such as the art and architecture of Greece.
Output: What two forces does the history investigate when examining the evolution of political and military decisions?
The first book of the History, after a brief review of early Greek history and some programmatic historiographical commentary, seeks to explain why the Peloponnesian War broke out when it did and what its causes were. Except for a few short excursuses (notably 6.54-58 on the Tyrant Slayers), the remainder of the History (books 2 through 8) rigidly maintains its focus on the Peloponnesian War to the exclusion of other topics.
While the History concentrates on the military aspects of the Peloponnesian War, it uses these events as a medium to suggest several other themes closely related to the war. It specifically discusses in several passages the socially and culturally degenerative effects of war on humanity itself. The History is especially concerned with the lawlessness and atrocities committed by Greek citizens to each other in the name of one side or another in the war. Some events depicted in the History, such as the Melian dialogue, describe early instances of realpolitik or power politics.
The History is preoccupied with the interplay of justice and power in political and military decision-making. Thucydides' presentation is decidedly ambivalent on this theme. While the History seems to suggest that considerations of justice are artificial and necessarily capitulate to power, it sometimes also shows a significant degree of empathy with those who suffer from the exigencies of the war.
For the most part, the History does not discuss topics such as the art and architecture of Greece.
Output: How does the history in general view justice?
The first book of the History, after a brief review of early Greek history and some programmatic historiographical commentary, seeks to explain why the Peloponnesian War broke out when it did and what its causes were. Except for a few short excursuses (notably 6.54-58 on the Tyrant Slayers), the remainder of the History (books 2 through 8) rigidly maintains its focus on the Peloponnesian War to the exclusion of other topics.
While the History concentrates on the military aspects of the Peloponnesian War, it uses these events as a medium to suggest several other themes closely related to the war. It specifically discusses in several passages the socially and culturally degenerative effects of war on humanity itself. The History is especially concerned with the lawlessness and atrocities committed by Greek citizens to each other in the name of one side or another in the war. Some events depicted in the History, such as the Melian dialogue, describe early instances of realpolitik or power politics.
The History is preoccupied with the interplay of justice and power in political and military decision-making. Thucydides' presentation is decidedly ambivalent on this theme. While the History seems to suggest that considerations of justice are artificial and necessarily capitulate to power, it sometimes also shows a significant degree of empathy with those who suffer from the exigencies of the war.
For the most part, the History does not discuss topics such as the art and architecture of Greece.
Output: What is depicted in some of the events in the History?
The first book of the History, after a brief review of early Greek history and some programmatic historiographical commentary, seeks to explain why the Peloponnesian War broke out when it did and what its causes were. Except for a few short excursuses (notably 6.54-58 on the Tyrant Slayers), the remainder of the History (books 2 through 8) rigidly maintains its focus on the Peloponnesian War to the exclusion of other topics.
While the History concentrates on the military aspects of the Peloponnesian War, it uses these events as a medium to suggest several other themes closely related to the war. It specifically discusses in several passages the socially and culturally degenerative effects of war on humanity itself. The History is especially concerned with the lawlessness and atrocities committed by Greek citizens to each other in the name of one side or another in the war. Some events depicted in the History, such as the Melian dialogue, describe early instances of realpolitik or power politics.
The History is preoccupied with the interplay of justice and power in political and military decision-making. Thucydides' presentation is decidedly ambivalent on this theme. While the History seems to suggest that considerations of justice are artificial and necessarily capitulate to power, it sometimes also shows a significant degree of empathy with those who suffer from the exigencies of the war.
For the most part, the History does not discuss topics such as the art and architecture of Greece.
Output: What is the history most focused on in analyzing the war in relation to Greek citizens?
The first book of the History, after a brief review of early Greek history and some programmatic historiographical commentary, seeks to explain why the Peloponnesian War broke out when it did and what its causes were. Except for a few short excursuses (notably 6.54-58 on the Tyrant Slayers), the remainder of the History (books 2 through 8) rigidly maintains its focus on the Peloponnesian War to the exclusion of other topics.
While the History concentrates on the military aspects of the Peloponnesian War, it uses these events as a medium to suggest several other themes closely related to the war. It specifically discusses in several passages the socially and culturally degenerative effects of war on humanity itself. The History is especially concerned with the lawlessness and atrocities committed by Greek citizens to each other in the name of one side or another in the war. Some events depicted in the History, such as the Melian dialogue, describe early instances of realpolitik or power politics.
The History is preoccupied with the interplay of justice and power in political and military decision-making. Thucydides' presentation is decidedly ambivalent on this theme. While the History seems to suggest that considerations of justice are artificial and necessarily capitulate to power, it sometimes also shows a significant degree of empathy with those who suffer from the exigencies of the war.
For the most part, the History does not discuss topics such as the art and architecture of Greece.
Output: What is the history's main topic of discussion?
The first book of the History, after a brief review of early Greek history and some programmatic historiographical commentary, seeks to explain why the Peloponnesian War broke out when it did and what its causes were. Except for a few short excursuses (notably 6.54-58 on the Tyrant Slayers), the remainder of the History (books 2 through 8) rigidly maintains its focus on the Peloponnesian War to the exclusion of other topics.
While the History concentrates on the military aspects of the Peloponnesian War, it uses these events as a medium to suggest several other themes closely related to the war. It specifically discusses in several passages the socially and culturally degenerative effects of war on humanity itself. The History is especially concerned with the lawlessness and atrocities committed by Greek citizens to each other in the name of one side or another in the war. Some events depicted in the History, such as the Melian dialogue, describe early instances of realpolitik or power politics.
The History is preoccupied with the interplay of justice and power in political and military decision-making. Thucydides' presentation is decidedly ambivalent on this theme. While the History seems to suggest that considerations of justice are artificial and necessarily capitulate to power, it sometimes also shows a significant degree of empathy with those who suffer from the exigencies of the war.
For the most part, the History does not discuss topics such as the art and architecture of Greece.
Output: The History discusses the socially and culturally degenerative effects of war on what?
The first book of the History, after a brief review of early Greek history and some programmatic historiographical commentary, seeks to explain why the Peloponnesian War broke out when it did and what its causes were. Except for a few short excursuses (notably 6.54-58 on the Tyrant Slayers), the remainder of the History (books 2 through 8) rigidly maintains its focus on the Peloponnesian War to the exclusion of other topics.
While the History concentrates on the military aspects of the Peloponnesian War, it uses these events as a medium to suggest several other themes closely related to the war. It specifically discusses in several passages the socially and culturally degenerative effects of war on humanity itself. The History is especially concerned with the lawlessness and atrocities committed by Greek citizens to each other in the name of one side or another in the war. Some events depicted in the History, such as the Melian dialogue, describe early instances of realpolitik or power politics.
The History is preoccupied with the interplay of justice and power in political and military decision-making. Thucydides' presentation is decidedly ambivalent on this theme. While the History seems to suggest that considerations of justice are artificial and necessarily capitulate to power, it sometimes also shows a significant degree of empathy with those who suffer from the exigencies of the war.
For the most part, the History does not discuss topics such as the art and architecture of Greece.
Output: Whose account of the war is captured in the History collection?
The first book of the History, after a brief review of early Greek history and some programmatic historiographical commentary, seeks to explain why the Peloponnesian War broke out when it did and what its causes were. Except for a few short excursuses (notably 6.54-58 on the Tyrant Slayers), the remainder of the History (books 2 through 8) rigidly maintains its focus on the Peloponnesian War to the exclusion of other topics.
While the History concentrates on the military aspects of the Peloponnesian War, it uses these events as a medium to suggest several other themes closely related to the war. It specifically discusses in several passages the socially and culturally degenerative effects of war on humanity itself. The History is especially concerned with the lawlessness and atrocities committed by Greek citizens to each other in the name of one side or another in the war. Some events depicted in the History, such as the Melian dialogue, describe early instances of realpolitik or power politics.
The History is preoccupied with the interplay of justice and power in political and military decision-making. Thucydides' presentation is decidedly ambivalent on this theme. While the History seems to suggest that considerations of justice are artificial and necessarily capitulate to power, it sometimes also shows a significant degree of empathy with those who suffer from the exigencies of the war.
For the most part, the History does not discuss topics such as the art and architecture of Greece.
Output: Which parts of the collection cover only the war and no other facet of Greek society?
The first book of the History, after a brief review of early Greek history and some programmatic historiographical commentary, seeks to explain why the Peloponnesian War broke out when it did and what its causes were. Except for a few short excursuses (notably 6.54-58 on the Tyrant Slayers), the remainder of the History (books 2 through 8) rigidly maintains its focus on the Peloponnesian War to the exclusion of other topics.
While the History concentrates on the military aspects of the Peloponnesian War, it uses these events as a medium to suggest several other themes closely related to the war. It specifically discusses in several passages the socially and culturally degenerative effects of war on humanity itself. The History is especially concerned with the lawlessness and atrocities committed by Greek citizens to each other in the name of one side or another in the war. Some events depicted in the History, such as the Melian dialogue, describe early instances of realpolitik or power politics.
The History is preoccupied with the interplay of justice and power in political and military decision-making. Thucydides' presentation is decidedly ambivalent on this theme. While the History seems to suggest that considerations of justice are artificial and necessarily capitulate to power, it sometimes also shows a significant degree of empathy with those who suffer from the exigencies of the war.
For the most part, the History does not discuss topics such as the art and architecture of Greece.
Output: What emotion is sometimes expressed for those who are negatively affected by what happens during wartime?
The first book of the History, after a brief review of early Greek history and some programmatic historiographical commentary, seeks to explain why the Peloponnesian War broke out when it did and what its causes were. Except for a few short excursuses (notably 6.54-58 on the Tyrant Slayers), the remainder of the History (books 2 through 8) rigidly maintains its focus on the Peloponnesian War to the exclusion of other topics.
While the History concentrates on the military aspects of the Peloponnesian War, it uses these events as a medium to suggest several other themes closely related to the war. It specifically discusses in several passages the socially and culturally degenerative effects of war on humanity itself. The History is especially concerned with the lawlessness and atrocities committed by Greek citizens to each other in the name of one side or another in the war. Some events depicted in the History, such as the Melian dialogue, describe early instances of realpolitik or power politics.
The History is preoccupied with the interplay of justice and power in political and military decision-making. Thucydides' presentation is decidedly ambivalent on this theme. While the History seems to suggest that considerations of justice are artificial and necessarily capitulate to power, it sometimes also shows a significant degree of empathy with those who suffer from the exigencies of the war.
For the most part, the History does not discuss topics such as the art and architecture of Greece.
Output: What is the History especially concerned with?
The first book of the History, after a brief review of early Greek history and some programmatic historiographical commentary, seeks to explain why the Peloponnesian War broke out when it did and what its causes were. Except for a few short excursuses (notably 6.54-58 on the Tyrant Slayers), the remainder of the History (books 2 through 8) rigidly maintains its focus on the Peloponnesian War to the exclusion of other topics.
While the History concentrates on the military aspects of the Peloponnesian War, it uses these events as a medium to suggest several other themes closely related to the war. It specifically discusses in several passages the socially and culturally degenerative effects of war on humanity itself. The History is especially concerned with the lawlessness and atrocities committed by Greek citizens to each other in the name of one side or another in the war. Some events depicted in the History, such as the Melian dialogue, describe early instances of realpolitik or power politics.
The History is preoccupied with the interplay of justice and power in political and military decision-making. Thucydides' presentation is decidedly ambivalent on this theme. While the History seems to suggest that considerations of justice are artificial and necessarily capitulate to power, it sometimes also shows a significant degree of empathy with those who suffer from the exigencies of the war.
For the most part, the History does not discuss topics such as the art and architecture of Greece.
Output: What aspects of the Peloponnesian War are the main focus of the History collection?
The first book of the History, after a brief review of early Greek history and some programmatic historiographical commentary, seeks to explain why the Peloponnesian War broke out when it did and what its causes were. Except for a few short excursuses (notably 6.54-58 on the Tyrant Slayers), the remainder of the History (books 2 through 8) rigidly maintains its focus on the Peloponnesian War to the exclusion of other topics.
While the History concentrates on the military aspects of the Peloponnesian War, it uses these events as a medium to suggest several other themes closely related to the war. It specifically discusses in several passages the socially and culturally degenerative effects of war on humanity itself. The History is especially concerned with the lawlessness and atrocities committed by Greek citizens to each other in the name of one side or another in the war. Some events depicted in the History, such as the Melian dialogue, describe early instances of realpolitik or power politics.
The History is preoccupied with the interplay of justice and power in political and military decision-making. Thucydides' presentation is decidedly ambivalent on this theme. While the History seems to suggest that considerations of justice are artificial and necessarily capitulate to power, it sometimes also shows a significant degree of empathy with those who suffer from the exigencies of the war.
For the most part, the History does not discuss topics such as the art and architecture of Greece.
Output: What country is the war located in?
The first book of the History, after a brief review of early Greek history and some programmatic historiographical commentary, seeks to explain why the Peloponnesian War broke out when it did and what its causes were. Except for a few short excursuses (notably 6.54-58 on the Tyrant Slayers), the remainder of the History (books 2 through 8) rigidly maintains its focus on the Peloponnesian War to the exclusion of other topics.
While the History concentrates on the military aspects of the Peloponnesian War, it uses these events as a medium to suggest several other themes closely related to the war. It specifically discusses in several passages the socially and culturally degenerative effects of war on humanity itself. The History is especially concerned with the lawlessness and atrocities committed by Greek citizens to each other in the name of one side or another in the war. Some events depicted in the History, such as the Melian dialogue, describe early instances of realpolitik or power politics.
The History is preoccupied with the interplay of justice and power in political and military decision-making. Thucydides' presentation is decidedly ambivalent on this theme. While the History seems to suggest that considerations of justice are artificial and necessarily capitulate to power, it sometimes also shows a significant degree of empathy with those who suffer from the exigencies of the war.
For the most part, the History does not discuss topics such as the art and architecture of Greece.
Output: What is the History preoccupied with?
The first book of the History, after a brief review of early Greek history and some programmatic historiographical commentary, seeks to explain why the Peloponnesian War broke out when it did and what its causes were. Except for a few short excursuses (notably 6.54-58 on the Tyrant Slayers), the remainder of the History (books 2 through 8) rigidly maintains its focus on the Peloponnesian War to the exclusion of other topics.
While the History concentrates on the military aspects of the Peloponnesian War, it uses these events as a medium to suggest several other themes closely related to the war. It specifically discusses in several passages the socially and culturally degenerative effects of war on humanity itself. The History is especially concerned with the lawlessness and atrocities committed by Greek citizens to each other in the name of one side or another in the war. Some events depicted in the History, such as the Melian dialogue, describe early instances of realpolitik or power politics.
The History is preoccupied with the interplay of justice and power in political and military decision-making. Thucydides' presentation is decidedly ambivalent on this theme. While the History seems to suggest that considerations of justice are artificial and necessarily capitulate to power, it sometimes also shows a significant degree of empathy with those who suffer from the exigencies of the war.
For the most part, the History does not discuss topics such as the art and architecture of Greece.
Output: What does the History briefly review in the beginning of the story?
The first book of the History, after a brief review of early Greek history and some programmatic historiographical commentary, seeks to explain why the Peloponnesian War broke out when it did and what its causes were. Except for a few short excursuses (notably 6.54-58 on the Tyrant Slayers), the remainder of the History (books 2 through 8) rigidly maintains its focus on the Peloponnesian War to the exclusion of other topics.
While the History concentrates on the military aspects of the Peloponnesian War, it uses these events as a medium to suggest several other themes closely related to the war. It specifically discusses in several passages the socially and culturally degenerative effects of war on humanity itself. The History is especially concerned with the lawlessness and atrocities committed by Greek citizens to each other in the name of one side or another in the war. Some events depicted in the History, such as the Melian dialogue, describe early instances of realpolitik or power politics.
The History is preoccupied with the interplay of justice and power in political and military decision-making. Thucydides' presentation is decidedly ambivalent on this theme. While the History seems to suggest that considerations of justice are artificial and necessarily capitulate to power, it sometimes also shows a significant degree of empathy with those who suffer from the exigencies of the war.
For the most part, the History does not discuss topics such as the art and architecture of Greece.
Output: What type of effect is the war described as having on Greek society?
The first book of the History, after a brief review of early Greek history and some programmatic historiographical commentary, seeks to explain why the Peloponnesian War broke out when it did and what its causes were. Except for a few short excursuses (notably 6.54-58 on the Tyrant Slayers), the remainder of the History (books 2 through 8) rigidly maintains its focus on the Peloponnesian War to the exclusion of other topics.
While the History concentrates on the military aspects of the Peloponnesian War, it uses these events as a medium to suggest several other themes closely related to the war. It specifically discusses in several passages the socially and culturally degenerative effects of war on humanity itself. The History is especially concerned with the lawlessness and atrocities committed by Greek citizens to each other in the name of one side or another in the war. Some events depicted in the History, such as the Melian dialogue, describe early instances of realpolitik or power politics.
The History is preoccupied with the interplay of justice and power in political and military decision-making. Thucydides' presentation is decidedly ambivalent on this theme. While the History seems to suggest that considerations of justice are artificial and necessarily capitulate to power, it sometimes also shows a significant degree of empathy with those who suffer from the exigencies of the war.
For the most part, the History does not discuss topics such as the art and architecture of Greece.
Output: What does the history claim justice is a servant of?
The first book of the History, after a brief review of early Greek history and some programmatic historiographical commentary, seeks to explain why the Peloponnesian War broke out when it did and what its causes were. Except for a few short excursuses (notably 6.54-58 on the Tyrant Slayers), the remainder of the History (books 2 through 8) rigidly maintains its focus on the Peloponnesian War to the exclusion of other topics.
While the History concentrates on the military aspects of the Peloponnesian War, it uses these events as a medium to suggest several other themes closely related to the war. It specifically discusses in several passages the socially and culturally degenerative effects of war on humanity itself. The History is especially concerned with the lawlessness and atrocities committed by Greek citizens to each other in the name of one side or another in the war. Some events depicted in the History, such as the Melian dialogue, describe early instances of realpolitik or power politics.
The History is preoccupied with the interplay of justice and power in political and military decision-making. Thucydides' presentation is decidedly ambivalent on this theme. While the History seems to suggest that considerations of justice are artificial and necessarily capitulate to power, it sometimes also shows a significant degree of empathy with those who suffer from the exigencies of the war.
For the most part, the History does not discuss topics such as the art and architecture of Greece.
Output: What does the History concentrate on that it uses as a medium for several other themes closely related to the war?
The first book of the History, after a brief review of early Greek history and some programmatic historiographical commentary, seeks to explain why the Peloponnesian War broke out when it did and what its causes were. Except for a few short excursuses (notably 6.54-58 on the Tyrant Slayers), the remainder of the History (books 2 through 8) rigidly maintains its focus on the Peloponnesian War to the exclusion of other topics.
While the History concentrates on the military aspects of the Peloponnesian War, it uses these events as a medium to suggest several other themes closely related to the war. It specifically discusses in several passages the socially and culturally degenerative effects of war on humanity itself. The History is especially concerned with the lawlessness and atrocities committed by Greek citizens to each other in the name of one side or another in the war. Some events depicted in the History, such as the Melian dialogue, describe early instances of realpolitik or power politics.
The History is preoccupied with the interplay of justice and power in political and military decision-making. Thucydides' presentation is decidedly ambivalent on this theme. While the History seems to suggest that considerations of justice are artificial and necessarily capitulate to power, it sometimes also shows a significant degree of empathy with those who suffer from the exigencies of the war.
For the most part, the History does not discuss topics such as the art and architecture of Greece.
Output: What is realpolitik?
The first book of the History, after a brief review of early Greek history and some programmatic historiographical commentary, seeks to explain why the Peloponnesian War broke out when it did and what its causes were. Except for a few short excursuses (notably 6.54-58 on the Tyrant Slayers), the remainder of the History (books 2 through 8) rigidly maintains its focus on the Peloponnesian War to the exclusion of other topics.
While the History concentrates on the military aspects of the Peloponnesian War, it uses these events as a medium to suggest several other themes closely related to the war. It specifically discusses in several passages the socially and culturally degenerative effects of war on humanity itself. The History is especially concerned with the lawlessness and atrocities committed by Greek citizens to each other in the name of one side or another in the war. Some events depicted in the History, such as the Melian dialogue, describe early instances of realpolitik or power politics.
The History is preoccupied with the interplay of justice and power in political and military decision-making. Thucydides' presentation is decidedly ambivalent on this theme. While the History seems to suggest that considerations of justice are artificial and necessarily capitulate to power, it sometimes also shows a significant degree of empathy with those who suffer from the exigencies of the war.
For the most part, the History does not discuss topics such as the art and architecture of Greece.
Output: How many items are in the "History of the Peloponnesian War" collection?
The first book of the History, after a brief review of early Greek history and some programmatic historiographical commentary, seeks to explain why the Peloponnesian War broke out when it did and what its causes were. Except for a few short excursuses (notably 6.54-58 on the Tyrant Slayers), the remainder of the History (books 2 through 8) rigidly maintains its focus on the Peloponnesian War to the exclusion of other topics.
While the History concentrates on the military aspects of the Peloponnesian War, it uses these events as a medium to suggest several other themes closely related to the war. It specifically discusses in several passages the socially and culturally degenerative effects of war on humanity itself. The History is especially concerned with the lawlessness and atrocities committed by Greek citizens to each other in the name of one side or another in the war. Some events depicted in the History, such as the Melian dialogue, describe early instances of realpolitik or power politics.
The History is preoccupied with the interplay of justice and power in political and military decision-making. Thucydides' presentation is decidedly ambivalent on this theme. While the History seems to suggest that considerations of justice are artificial and necessarily capitulate to power, it sometimes also shows a significant degree of empathy with those who suffer from the exigencies of the war.
For the most part, the History does not discuss topics such as the art and architecture of Greece.
Output: What dialogue in the history describes the politics of power?
The first book of the History, after a brief review of early Greek history and some programmatic historiographical commentary, seeks to explain why the Peloponnesian War broke out when it did and what its causes were. Except for a few short excursuses (notably 6.54-58 on the Tyrant Slayers), the remainder of the History (books 2 through 8) rigidly maintains its focus on the Peloponnesian War to the exclusion of other topics.
While the History concentrates on the military aspects of the Peloponnesian War, it uses these events as a medium to suggest several other themes closely related to the war. It specifically discusses in several passages the socially and culturally degenerative effects of war on humanity itself. The History is especially concerned with the lawlessness and atrocities committed by Greek citizens to each other in the name of one side or another in the war. Some events depicted in the History, such as the Melian dialogue, describe early instances of realpolitik or power politics.
The History is preoccupied with the interplay of justice and power in political and military decision-making. Thucydides' presentation is decidedly ambivalent on this theme. While the History seems to suggest that considerations of justice are artificial and necessarily capitulate to power, it sometimes also shows a significant degree of empathy with those who suffer from the exigencies of the war.
For the most part, the History does not discuss topics such as the art and architecture of Greece.
Output: Who is shown a significant degree of sympathy?