niryuu/sni-each-converted huggingface dataset:
The work has a recognizable structure, for the most part indicated by the author himself, which can be summarized as follows:The Prince starts by describing the subject matter it will handle. In the first sentence Machiavelli uses the word "state" (Italian stato which could also mean "status") in order to neutrally cover "all forms of organization of supreme political power, whether republican or princely". The way in which the word state came to acquire this modern type of meaning during the Renaissance has been the subject of many academic discussions, with this sentence and similar ones in the works of Machiavelli being considered particularly important.
Machiavelli said that The Prince would be about princedoms, mentioning that he has written about republics elsewhere (possibly referring to the Discourses on Livy although this is debated), but in fact he mixes discussion of republics into this in many places, effectively treating republics as a type of princedom also, and one with many strengths. More importantly, and less traditionally, he distinguishes new princedoms from hereditary established princedoms. He deals with hereditary princedoms quickly in Chapter 2, saying that they are much easier to rule. For such a prince, "unless extraordinary vices cause him to be hated, it is reasonable to expect that his subjects will be naturally well disposed towards him". Gilbert (1938:19 23), comparing to traditional presentations of advice for princes, stated that the novelty in chapters 1 and 2 is the "deliberate purpose of dealing with a new ruler who will need to establish himself in defiance of custom". Normally, these types of works were addressed only to hereditary princes. He thinks Machiavelli may have been influenced by Tacitus as well as his own experience, but finds no clear predecessor for this.
This categorization of regime types is also "un-Aristotelian" and apparently simpler than the traditional one found for example in Aristotle's Politics, which divides regimes into those ruled by a single monarch, an oligarchy, or by the people, in a democracy. He also ignores the classical distinctions between the good and corrupt forms, for example between monarchy and tyranny.
Xenophon, on the other hand, made exactly the same distinction between types of rulers in the beginning of his Education of Cyrus where he says that, concerning the knowledge of how to rule human beings, Cyrus the Great, his exemplary prince, was very different "from all other kings, both those who have inherited their thrones from their fathers and those who have gained their crowns by their own efforts".
Machiavelli divides the subject of new states into two types, "mixed" cases and purely new states.
Output: What else in included in this treatise that is supposed to be about princedoms?
The work has a recognizable structure, for the most part indicated by the author himself, which can be summarized as follows:The Prince starts by describing the subject matter it will handle. In the first sentence Machiavelli uses the word "state" (Italian stato which could also mean "status") in order to neutrally cover "all forms of organization of supreme political power, whether republican or princely". The way in which the word state came to acquire this modern type of meaning during the Renaissance has been the subject of many academic discussions, with this sentence and similar ones in the works of Machiavelli being considered particularly important.
Machiavelli said that The Prince would be about princedoms, mentioning that he has written about republics elsewhere (possibly referring to the Discourses on Livy although this is debated), but in fact he mixes discussion of republics into this in many places, effectively treating republics as a type of princedom also, and one with many strengths. More importantly, and less traditionally, he distinguishes new princedoms from hereditary established princedoms. He deals with hereditary princedoms quickly in Chapter 2, saying that they are much easier to rule. For such a prince, "unless extraordinary vices cause him to be hated, it is reasonable to expect that his subjects will be naturally well disposed towards him". Gilbert (1938:19 23), comparing to traditional presentations of advice for princes, stated that the novelty in chapters 1 and 2 is the "deliberate purpose of dealing with a new ruler who will need to establish himself in defiance of custom". Normally, these types of works were addressed only to hereditary princes. He thinks Machiavelli may have been influenced by Tacitus as well as his own experience, but finds no clear predecessor for this.
This categorization of regime types is also "un-Aristotelian" and apparently simpler than the traditional one found for example in Aristotle's Politics, which divides regimes into those ruled by a single monarch, an oligarchy, or by the people, in a democracy. He also ignores the classical distinctions between the good and corrupt forms, for example between monarchy and tyranny.
Xenophon, on the other hand, made exactly the same distinction between types of rulers in the beginning of his Education of Cyrus where he says that, concerning the knowledge of how to rule human beings, Cyrus the Great, his exemplary prince, was very different "from all other kings, both those who have inherited their thrones from their fathers and those who have gained their crowns by their own efforts".
Machiavelli divides the subject of new states into two types, "mixed" cases and purely new states.
Output: What is a democracy?
The work has a recognizable structure, for the most part indicated by the author himself, which can be summarized as follows:The Prince starts by describing the subject matter it will handle. In the first sentence Machiavelli uses the word "state" (Italian stato which could also mean "status") in order to neutrally cover "all forms of organization of supreme political power, whether republican or princely". The way in which the word state came to acquire this modern type of meaning during the Renaissance has been the subject of many academic discussions, with this sentence and similar ones in the works of Machiavelli being considered particularly important.
Machiavelli said that The Prince would be about princedoms, mentioning that he has written about republics elsewhere (possibly referring to the Discourses on Livy although this is debated), but in fact he mixes discussion of republics into this in many places, effectively treating republics as a type of princedom also, and one with many strengths. More importantly, and less traditionally, he distinguishes new princedoms from hereditary established princedoms. He deals with hereditary princedoms quickly in Chapter 2, saying that they are much easier to rule. For such a prince, "unless extraordinary vices cause him to be hated, it is reasonable to expect that his subjects will be naturally well disposed towards him". Gilbert (1938:19 23), comparing to traditional presentations of advice for princes, stated that the novelty in chapters 1 and 2 is the "deliberate purpose of dealing with a new ruler who will need to establish himself in defiance of custom". Normally, these types of works were addressed only to hereditary princes. He thinks Machiavelli may have been influenced by Tacitus as well as his own experience, but finds no clear predecessor for this.
This categorization of regime types is also "un-Aristotelian" and apparently simpler than the traditional one found for example in Aristotle's Politics, which divides regimes into those ruled by a single monarch, an oligarchy, or by the people, in a democracy. He also ignores the classical distinctions between the good and corrupt forms, for example between monarchy and tyranny.
Xenophon, on the other hand, made exactly the same distinction between types of rulers in the beginning of his Education of Cyrus where he says that, concerning the knowledge of how to rule human beings, Cyrus the Great, his exemplary prince, was very different "from all other kings, both those who have inherited their thrones from their fathers and those who have gained their crowns by their own efforts".
Machiavelli divides the subject of new states into two types, "mixed" cases and purely new states.
Output: What groups does the story divide new states into?
The work has a recognizable structure, for the most part indicated by the author himself, which can be summarized as follows:The Prince starts by describing the subject matter it will handle. In the first sentence Machiavelli uses the word "state" (Italian stato which could also mean "status") in order to neutrally cover "all forms of organization of supreme political power, whether republican or princely". The way in which the word state came to acquire this modern type of meaning during the Renaissance has been the subject of many academic discussions, with this sentence and similar ones in the works of Machiavelli being considered particularly important.
Machiavelli said that The Prince would be about princedoms, mentioning that he has written about republics elsewhere (possibly referring to the Discourses on Livy although this is debated), but in fact he mixes discussion of republics into this in many places, effectively treating republics as a type of princedom also, and one with many strengths. More importantly, and less traditionally, he distinguishes new princedoms from hereditary established princedoms. He deals with hereditary princedoms quickly in Chapter 2, saying that they are much easier to rule. For such a prince, "unless extraordinary vices cause him to be hated, it is reasonable to expect that his subjects will be naturally well disposed towards him". Gilbert (1938:19 23), comparing to traditional presentations of advice for princes, stated that the novelty in chapters 1 and 2 is the "deliberate purpose of dealing with a new ruler who will need to establish himself in defiance of custom". Normally, these types of works were addressed only to hereditary princes. He thinks Machiavelli may have been influenced by Tacitus as well as his own experience, but finds no clear predecessor for this.
This categorization of regime types is also "un-Aristotelian" and apparently simpler than the traditional one found for example in Aristotle's Politics, which divides regimes into those ruled by a single monarch, an oligarchy, or by the people, in a democracy. He also ignores the classical distinctions between the good and corrupt forms, for example between monarchy and tyranny.
Xenophon, on the other hand, made exactly the same distinction between types of rulers in the beginning of his Education of Cyrus where he says that, concerning the knowledge of how to rule human beings, Cyrus the Great, his exemplary prince, was very different "from all other kings, both those who have inherited their thrones from their fathers and those who have gained their crowns by their own efforts".
Machiavelli divides the subject of new states into two types, "mixed" cases and purely new states.
Output: Is "The Prince" about Princedoms?
The work has a recognizable structure, for the most part indicated by the author himself, which can be summarized as follows:The Prince starts by describing the subject matter it will handle. In the first sentence Machiavelli uses the word "state" (Italian stato which could also mean "status") in order to neutrally cover "all forms of organization of supreme political power, whether republican or princely". The way in which the word state came to acquire this modern type of meaning during the Renaissance has been the subject of many academic discussions, with this sentence and similar ones in the works of Machiavelli being considered particularly important.
Machiavelli said that The Prince would be about princedoms, mentioning that he has written about republics elsewhere (possibly referring to the Discourses on Livy although this is debated), but in fact he mixes discussion of republics into this in many places, effectively treating republics as a type of princedom also, and one with many strengths. More importantly, and less traditionally, he distinguishes new princedoms from hereditary established princedoms. He deals with hereditary princedoms quickly in Chapter 2, saying that they are much easier to rule. For such a prince, "unless extraordinary vices cause him to be hated, it is reasonable to expect that his subjects will be naturally well disposed towards him". Gilbert (1938:19 23), comparing to traditional presentations of advice for princes, stated that the novelty in chapters 1 and 2 is the "deliberate purpose of dealing with a new ruler who will need to establish himself in defiance of custom". Normally, these types of works were addressed only to hereditary princes. He thinks Machiavelli may have been influenced by Tacitus as well as his own experience, but finds no clear predecessor for this.
This categorization of regime types is also "un-Aristotelian" and apparently simpler than the traditional one found for example in Aristotle's Politics, which divides regimes into those ruled by a single monarch, an oligarchy, or by the people, in a democracy. He also ignores the classical distinctions between the good and corrupt forms, for example between monarchy and tyranny.
Xenophon, on the other hand, made exactly the same distinction between types of rulers in the beginning of his Education of Cyrus where he says that, concerning the knowledge of how to rule human beings, Cyrus the Great, his exemplary prince, was very different "from all other kings, both those who have inherited their thrones from their fathers and those who have gained their crowns by their own efforts".
Machiavelli divides the subject of new states into two types, "mixed" cases and purely new states.
Output: What other form of governement is mentioned throughout the story?
The work has a recognizable structure, for the most part indicated by the author himself, which can be summarized as follows:The Prince starts by describing the subject matter it will handle. In the first sentence Machiavelli uses the word "state" (Italian stato which could also mean "status") in order to neutrally cover "all forms of organization of supreme political power, whether republican or princely". The way in which the word state came to acquire this modern type of meaning during the Renaissance has been the subject of many academic discussions, with this sentence and similar ones in the works of Machiavelli being considered particularly important.
Machiavelli said that The Prince would be about princedoms, mentioning that he has written about republics elsewhere (possibly referring to the Discourses on Livy although this is debated), but in fact he mixes discussion of republics into this in many places, effectively treating republics as a type of princedom also, and one with many strengths. More importantly, and less traditionally, he distinguishes new princedoms from hereditary established princedoms. He deals with hereditary princedoms quickly in Chapter 2, saying that they are much easier to rule. For such a prince, "unless extraordinary vices cause him to be hated, it is reasonable to expect that his subjects will be naturally well disposed towards him". Gilbert (1938:19 23), comparing to traditional presentations of advice for princes, stated that the novelty in chapters 1 and 2 is the "deliberate purpose of dealing with a new ruler who will need to establish himself in defiance of custom". Normally, these types of works were addressed only to hereditary princes. He thinks Machiavelli may have been influenced by Tacitus as well as his own experience, but finds no clear predecessor for this.
This categorization of regime types is also "un-Aristotelian" and apparently simpler than the traditional one found for example in Aristotle's Politics, which divides regimes into those ruled by a single monarch, an oligarchy, or by the people, in a democracy. He also ignores the classical distinctions between the good and corrupt forms, for example between monarchy and tyranny.
Xenophon, on the other hand, made exactly the same distinction between types of rulers in the beginning of his Education of Cyrus where he says that, concerning the knowledge of how to rule human beings, Cyrus the Great, his exemplary prince, was very different "from all other kings, both those who have inherited their thrones from their fathers and those who have gained their crowns by their own efforts".
Machiavelli divides the subject of new states into two types, "mixed" cases and purely new states.
Output: What is a state?
The story takes place at the castellated abbey of the "happy and dauntless and sagacious" Prince Prospero. Prospero and 1,000 other nobles have taken refuge in this walled abbey to escape the Red Death, a terrible plague with gruesome symptoms that has swept over the land. Victims are overcome by "sharp pains", "sudden dizziness", and hematidrosis, and die within half an hour. Prospero and his court are indifferent to the sufferings of the population at large; they intend to await the end of the plague in luxury and safety behind the walls of their secure refuge, having welded the doors shut.
One night, Prospero holds a masquerade ball to entertain his guests in seven colored rooms of the abbey. Each of the first six rooms is decorated and illuminated in a specific color: blue, purple, green, orange, white, and violet. The last room is decorated in black and is illuminated by a scarlet light, "a deep blood color" cast from its stained glass windows. Because of this chilling pairing of colors, very few guests are brave enough to venture into the seventh room. A large ebony clock stands in this room and ominously chimes each hour, upon which everyone stops talking or dancing and the orchestra stops playing. Once the chiming stops, everyone immediately resumes the masquerade.
At the chiming of midnight, the revelers and Prospero notice a figure in a dark, blood-splattered robe resembling a funeral shroud. The figure's mask resembles the rigid face of a corpse and exhibits the traits of the Red Death. Gravely insulted, Prospero demands to know the identity of the mysterious guest so they can hang him. The guests, too afraid to approach the figure, instead let him pass through the six chambers. The Prince pursues him with a drawn dagger and corners the guest in the seventh room. When the figure turns to face him, the Prince lets out a sharp cry and falls dead. The enraged and terrified revelers surge into the black room and forcibly remove the mask and robe, only to find to their horror that there is nothing underneath. Only then do they realize the figure is the Red Death itself, and all of the guests contract and succumb to the disease. The final line of the story sums up, "And Darkness and Decay and the Red Death held illimitable dominion over all".
Output: What weapon did Prospero have when he pursued the guest in the blood-splattered robes?
The story takes place at the castellated abbey of the "happy and dauntless and sagacious" Prince Prospero. Prospero and 1,000 other nobles have taken refuge in this walled abbey to escape the Red Death, a terrible plague with gruesome symptoms that has swept over the land. Victims are overcome by "sharp pains", "sudden dizziness", and hematidrosis, and die within half an hour. Prospero and his court are indifferent to the sufferings of the population at large; they intend to await the end of the plague in luxury and safety behind the walls of their secure refuge, having welded the doors shut.
One night, Prospero holds a masquerade ball to entertain his guests in seven colored rooms of the abbey. Each of the first six rooms is decorated and illuminated in a specific color: blue, purple, green, orange, white, and violet. The last room is decorated in black and is illuminated by a scarlet light, "a deep blood color" cast from its stained glass windows. Because of this chilling pairing of colors, very few guests are brave enough to venture into the seventh room. A large ebony clock stands in this room and ominously chimes each hour, upon which everyone stops talking or dancing and the orchestra stops playing. Once the chiming stops, everyone immediately resumes the masquerade.
At the chiming of midnight, the revelers and Prospero notice a figure in a dark, blood-splattered robe resembling a funeral shroud. The figure's mask resembles the rigid face of a corpse and exhibits the traits of the Red Death. Gravely insulted, Prospero demands to know the identity of the mysterious guest so they can hang him. The guests, too afraid to approach the figure, instead let him pass through the six chambers. The Prince pursues him with a drawn dagger and corners the guest in the seventh room. When the figure turns to face him, the Prince lets out a sharp cry and falls dead. The enraged and terrified revelers surge into the black room and forcibly remove the mask and robe, only to find to their horror that there is nothing underneath. Only then do they realize the figure is the Red Death itself, and all of the guests contract and succumb to the disease. The final line of the story sums up, "And Darkness and Decay and the Red Death held illimitable dominion over all".
Output: What was done to the doors in order to prevent entry into the abbey?
The story takes place at the castellated abbey of the "happy and dauntless and sagacious" Prince Prospero. Prospero and 1,000 other nobles have taken refuge in this walled abbey to escape the Red Death, a terrible plague with gruesome symptoms that has swept over the land. Victims are overcome by "sharp pains", "sudden dizziness", and hematidrosis, and die within half an hour. Prospero and his court are indifferent to the sufferings of the population at large; they intend to await the end of the plague in luxury and safety behind the walls of their secure refuge, having welded the doors shut.
One night, Prospero holds a masquerade ball to entertain his guests in seven colored rooms of the abbey. Each of the first six rooms is decorated and illuminated in a specific color: blue, purple, green, orange, white, and violet. The last room is decorated in black and is illuminated by a scarlet light, "a deep blood color" cast from its stained glass windows. Because of this chilling pairing of colors, very few guests are brave enough to venture into the seventh room. A large ebony clock stands in this room and ominously chimes each hour, upon which everyone stops talking or dancing and the orchestra stops playing. Once the chiming stops, everyone immediately resumes the masquerade.
At the chiming of midnight, the revelers and Prospero notice a figure in a dark, blood-splattered robe resembling a funeral shroud. The figure's mask resembles the rigid face of a corpse and exhibits the traits of the Red Death. Gravely insulted, Prospero demands to know the identity of the mysterious guest so they can hang him. The guests, too afraid to approach the figure, instead let him pass through the six chambers. The Prince pursues him with a drawn dagger and corners the guest in the seventh room. When the figure turns to face him, the Prince lets out a sharp cry and falls dead. The enraged and terrified revelers surge into the black room and forcibly remove the mask and robe, only to find to their horror that there is nothing underneath. Only then do they realize the figure is the Red Death itself, and all of the guests contract and succumb to the disease. The final line of the story sums up, "And Darkness and Decay and the Red Death held illimitable dominion over all".
Output: How many nobles did the abbey house besides Prince Prospero?
The story takes place at the castellated abbey of the "happy and dauntless and sagacious" Prince Prospero. Prospero and 1,000 other nobles have taken refuge in this walled abbey to escape the Red Death, a terrible plague with gruesome symptoms that has swept over the land. Victims are overcome by "sharp pains", "sudden dizziness", and hematidrosis, and die within half an hour. Prospero and his court are indifferent to the sufferings of the population at large; they intend to await the end of the plague in luxury and safety behind the walls of their secure refuge, having welded the doors shut.
One night, Prospero holds a masquerade ball to entertain his guests in seven colored rooms of the abbey. Each of the first six rooms is decorated and illuminated in a specific color: blue, purple, green, orange, white, and violet. The last room is decorated in black and is illuminated by a scarlet light, "a deep blood color" cast from its stained glass windows. Because of this chilling pairing of colors, very few guests are brave enough to venture into the seventh room. A large ebony clock stands in this room and ominously chimes each hour, upon which everyone stops talking or dancing and the orchestra stops playing. Once the chiming stops, everyone immediately resumes the masquerade.
At the chiming of midnight, the revelers and Prospero notice a figure in a dark, blood-splattered robe resembling a funeral shroud. The figure's mask resembles the rigid face of a corpse and exhibits the traits of the Red Death. Gravely insulted, Prospero demands to know the identity of the mysterious guest so they can hang him. The guests, too afraid to approach the figure, instead let him pass through the six chambers. The Prince pursues him with a drawn dagger and corners the guest in the seventh room. When the figure turns to face him, the Prince lets out a sharp cry and falls dead. The enraged and terrified revelers surge into the black room and forcibly remove the mask and robe, only to find to their horror that there is nothing underneath. Only then do they realize the figure is the Red Death itself, and all of the guests contract and succumb to the disease. The final line of the story sums up, "And Darkness and Decay and the Red Death held illimitable dominion over all".
Output: Who was the guest in the blood-splattered robe?
The story takes place at the castellated abbey of the "happy and dauntless and sagacious" Prince Prospero. Prospero and 1,000 other nobles have taken refuge in this walled abbey to escape the Red Death, a terrible plague with gruesome symptoms that has swept over the land. Victims are overcome by "sharp pains", "sudden dizziness", and hematidrosis, and die within half an hour. Prospero and his court are indifferent to the sufferings of the population at large; they intend to await the end of the plague in luxury and safety behind the walls of their secure refuge, having welded the doors shut.
One night, Prospero holds a masquerade ball to entertain his guests in seven colored rooms of the abbey. Each of the first six rooms is decorated and illuminated in a specific color: blue, purple, green, orange, white, and violet. The last room is decorated in black and is illuminated by a scarlet light, "a deep blood color" cast from its stained glass windows. Because of this chilling pairing of colors, very few guests are brave enough to venture into the seventh room. A large ebony clock stands in this room and ominously chimes each hour, upon which everyone stops talking or dancing and the orchestra stops playing. Once the chiming stops, everyone immediately resumes the masquerade.
At the chiming of midnight, the revelers and Prospero notice a figure in a dark, blood-splattered robe resembling a funeral shroud. The figure's mask resembles the rigid face of a corpse and exhibits the traits of the Red Death. Gravely insulted, Prospero demands to know the identity of the mysterious guest so they can hang him. The guests, too afraid to approach the figure, instead let him pass through the six chambers. The Prince pursues him with a drawn dagger and corners the guest in the seventh room. When the figure turns to face him, the Prince lets out a sharp cry and falls dead. The enraged and terrified revelers surge into the black room and forcibly remove the mask and robe, only to find to their horror that there is nothing underneath. Only then do they realize the figure is the Red Death itself, and all of the guests contract and succumb to the disease. The final line of the story sums up, "And Darkness and Decay and the Red Death held illimitable dominion over all".
Output: How many nobles are with Prince Prospero?
The story takes place at the castellated abbey of the "happy and dauntless and sagacious" Prince Prospero. Prospero and 1,000 other nobles have taken refuge in this walled abbey to escape the Red Death, a terrible plague with gruesome symptoms that has swept over the land. Victims are overcome by "sharp pains", "sudden dizziness", and hematidrosis, and die within half an hour. Prospero and his court are indifferent to the sufferings of the population at large; they intend to await the end of the plague in luxury and safety behind the walls of their secure refuge, having welded the doors shut.
One night, Prospero holds a masquerade ball to entertain his guests in seven colored rooms of the abbey. Each of the first six rooms is decorated and illuminated in a specific color: blue, purple, green, orange, white, and violet. The last room is decorated in black and is illuminated by a scarlet light, "a deep blood color" cast from its stained glass windows. Because of this chilling pairing of colors, very few guests are brave enough to venture into the seventh room. A large ebony clock stands in this room and ominously chimes each hour, upon which everyone stops talking or dancing and the orchestra stops playing. Once the chiming stops, everyone immediately resumes the masquerade.
At the chiming of midnight, the revelers and Prospero notice a figure in a dark, blood-splattered robe resembling a funeral shroud. The figure's mask resembles the rigid face of a corpse and exhibits the traits of the Red Death. Gravely insulted, Prospero demands to know the identity of the mysterious guest so they can hang him. The guests, too afraid to approach the figure, instead let him pass through the six chambers. The Prince pursues him with a drawn dagger and corners the guest in the seventh room. When the figure turns to face him, the Prince lets out a sharp cry and falls dead. The enraged and terrified revelers surge into the black room and forcibly remove the mask and robe, only to find to their horror that there is nothing underneath. Only then do they realize the figure is the Red Death itself, and all of the guests contract and succumb to the disease. The final line of the story sums up, "And Darkness and Decay and the Red Death held illimitable dominion over all".
Output: What did Prospero find under the brings mask?
The story takes place at the castellated abbey of the "happy and dauntless and sagacious" Prince Prospero. Prospero and 1,000 other nobles have taken refuge in this walled abbey to escape the Red Death, a terrible plague with gruesome symptoms that has swept over the land. Victims are overcome by "sharp pains", "sudden dizziness", and hematidrosis, and die within half an hour. Prospero and his court are indifferent to the sufferings of the population at large; they intend to await the end of the plague in luxury and safety behind the walls of their secure refuge, having welded the doors shut.
One night, Prospero holds a masquerade ball to entertain his guests in seven colored rooms of the abbey. Each of the first six rooms is decorated and illuminated in a specific color: blue, purple, green, orange, white, and violet. The last room is decorated in black and is illuminated by a scarlet light, "a deep blood color" cast from its stained glass windows. Because of this chilling pairing of colors, very few guests are brave enough to venture into the seventh room. A large ebony clock stands in this room and ominously chimes each hour, upon which everyone stops talking or dancing and the orchestra stops playing. Once the chiming stops, everyone immediately resumes the masquerade.
At the chiming of midnight, the revelers and Prospero notice a figure in a dark, blood-splattered robe resembling a funeral shroud. The figure's mask resembles the rigid face of a corpse and exhibits the traits of the Red Death. Gravely insulted, Prospero demands to know the identity of the mysterious guest so they can hang him. The guests, too afraid to approach the figure, instead let him pass through the six chambers. The Prince pursues him with a drawn dagger and corners the guest in the seventh room. When the figure turns to face him, the Prince lets out a sharp cry and falls dead. The enraged and terrified revelers surge into the black room and forcibly remove the mask and robe, only to find to their horror that there is nothing underneath. Only then do they realize the figure is the Red Death itself, and all of the guests contract and succumb to the disease. The final line of the story sums up, "And Darkness and Decay and the Red Death held illimitable dominion over all".
Output: What happened at midnight?
The story takes place at the castellated abbey of the "happy and dauntless and sagacious" Prince Prospero. Prospero and 1,000 other nobles have taken refuge in this walled abbey to escape the Red Death, a terrible plague with gruesome symptoms that has swept over the land. Victims are overcome by "sharp pains", "sudden dizziness", and hematidrosis, and die within half an hour. Prospero and his court are indifferent to the sufferings of the population at large; they intend to await the end of the plague in luxury and safety behind the walls of their secure refuge, having welded the doors shut.
One night, Prospero holds a masquerade ball to entertain his guests in seven colored rooms of the abbey. Each of the first six rooms is decorated and illuminated in a specific color: blue, purple, green, orange, white, and violet. The last room is decorated in black and is illuminated by a scarlet light, "a deep blood color" cast from its stained glass windows. Because of this chilling pairing of colors, very few guests are brave enough to venture into the seventh room. A large ebony clock stands in this room and ominously chimes each hour, upon which everyone stops talking or dancing and the orchestra stops playing. Once the chiming stops, everyone immediately resumes the masquerade.
At the chiming of midnight, the revelers and Prospero notice a figure in a dark, blood-splattered robe resembling a funeral shroud. The figure's mask resembles the rigid face of a corpse and exhibits the traits of the Red Death. Gravely insulted, Prospero demands to know the identity of the mysterious guest so they can hang him. The guests, too afraid to approach the figure, instead let him pass through the six chambers. The Prince pursues him with a drawn dagger and corners the guest in the seventh room. When the figure turns to face him, the Prince lets out a sharp cry and falls dead. The enraged and terrified revelers surge into the black room and forcibly remove the mask and robe, only to find to their horror that there is nothing underneath. Only then do they realize the figure is the Red Death itself, and all of the guests contract and succumb to the disease. The final line of the story sums up, "And Darkness and Decay and the Red Death held illimitable dominion over all".
Output: What was the Red Death?
The story takes place at the castellated abbey of the "happy and dauntless and sagacious" Prince Prospero. Prospero and 1,000 other nobles have taken refuge in this walled abbey to escape the Red Death, a terrible plague with gruesome symptoms that has swept over the land. Victims are overcome by "sharp pains", "sudden dizziness", and hematidrosis, and die within half an hour. Prospero and his court are indifferent to the sufferings of the population at large; they intend to await the end of the plague in luxury and safety behind the walls of their secure refuge, having welded the doors shut.
One night, Prospero holds a masquerade ball to entertain his guests in seven colored rooms of the abbey. Each of the first six rooms is decorated and illuminated in a specific color: blue, purple, green, orange, white, and violet. The last room is decorated in black and is illuminated by a scarlet light, "a deep blood color" cast from its stained glass windows. Because of this chilling pairing of colors, very few guests are brave enough to venture into the seventh room. A large ebony clock stands in this room and ominously chimes each hour, upon which everyone stops talking or dancing and the orchestra stops playing. Once the chiming stops, everyone immediately resumes the masquerade.
At the chiming of midnight, the revelers and Prospero notice a figure in a dark, blood-splattered robe resembling a funeral shroud. The figure's mask resembles the rigid face of a corpse and exhibits the traits of the Red Death. Gravely insulted, Prospero demands to know the identity of the mysterious guest so they can hang him. The guests, too afraid to approach the figure, instead let him pass through the six chambers. The Prince pursues him with a drawn dagger and corners the guest in the seventh room. When the figure turns to face him, the Prince lets out a sharp cry and falls dead. The enraged and terrified revelers surge into the black room and forcibly remove the mask and robe, only to find to their horror that there is nothing underneath. Only then do they realize the figure is the Red Death itself, and all of the guests contract and succumb to the disease. The final line of the story sums up, "And Darkness and Decay and the Red Death held illimitable dominion over all".
Output: Where does the Prince trap the mysterious masked being?
The story takes place at the castellated abbey of the "happy and dauntless and sagacious" Prince Prospero. Prospero and 1,000 other nobles have taken refuge in this walled abbey to escape the Red Death, a terrible plague with gruesome symptoms that has swept over the land. Victims are overcome by "sharp pains", "sudden dizziness", and hematidrosis, and die within half an hour. Prospero and his court are indifferent to the sufferings of the population at large; they intend to await the end of the plague in luxury and safety behind the walls of their secure refuge, having welded the doors shut.
One night, Prospero holds a masquerade ball to entertain his guests in seven colored rooms of the abbey. Each of the first six rooms is decorated and illuminated in a specific color: blue, purple, green, orange, white, and violet. The last room is decorated in black and is illuminated by a scarlet light, "a deep blood color" cast from its stained glass windows. Because of this chilling pairing of colors, very few guests are brave enough to venture into the seventh room. A large ebony clock stands in this room and ominously chimes each hour, upon which everyone stops talking or dancing and the orchestra stops playing. Once the chiming stops, everyone immediately resumes the masquerade.
At the chiming of midnight, the revelers and Prospero notice a figure in a dark, blood-splattered robe resembling a funeral shroud. The figure's mask resembles the rigid face of a corpse and exhibits the traits of the Red Death. Gravely insulted, Prospero demands to know the identity of the mysterious guest so they can hang him. The guests, too afraid to approach the figure, instead let him pass through the six chambers. The Prince pursues him with a drawn dagger and corners the guest in the seventh room. When the figure turns to face him, the Prince lets out a sharp cry and falls dead. The enraged and terrified revelers surge into the black room and forcibly remove the mask and robe, only to find to their horror that there is nothing underneath. Only then do they realize the figure is the Red Death itself, and all of the guests contract and succumb to the disease. The final line of the story sums up, "And Darkness and Decay and the Red Death held illimitable dominion over all".
Output: How did Prospero react to the stranger?
The story takes place at the castellated abbey of the "happy and dauntless and sagacious" Prince Prospero. Prospero and 1,000 other nobles have taken refuge in this walled abbey to escape the Red Death, a terrible plague with gruesome symptoms that has swept over the land. Victims are overcome by "sharp pains", "sudden dizziness", and hematidrosis, and die within half an hour. Prospero and his court are indifferent to the sufferings of the population at large; they intend to await the end of the plague in luxury and safety behind the walls of their secure refuge, having welded the doors shut.
One night, Prospero holds a masquerade ball to entertain his guests in seven colored rooms of the abbey. Each of the first six rooms is decorated and illuminated in a specific color: blue, purple, green, orange, white, and violet. The last room is decorated in black and is illuminated by a scarlet light, "a deep blood color" cast from its stained glass windows. Because of this chilling pairing of colors, very few guests are brave enough to venture into the seventh room. A large ebony clock stands in this room and ominously chimes each hour, upon which everyone stops talking or dancing and the orchestra stops playing. Once the chiming stops, everyone immediately resumes the masquerade.
At the chiming of midnight, the revelers and Prospero notice a figure in a dark, blood-splattered robe resembling a funeral shroud. The figure's mask resembles the rigid face of a corpse and exhibits the traits of the Red Death. Gravely insulted, Prospero demands to know the identity of the mysterious guest so they can hang him. The guests, too afraid to approach the figure, instead let him pass through the six chambers. The Prince pursues him with a drawn dagger and corners the guest in the seventh room. When the figure turns to face him, the Prince lets out a sharp cry and falls dead. The enraged and terrified revelers surge into the black room and forcibly remove the mask and robe, only to find to their horror that there is nothing underneath. Only then do they realize the figure is the Red Death itself, and all of the guests contract and succumb to the disease. The final line of the story sums up, "And Darkness and Decay and the Red Death held illimitable dominion over all".
Output: What happened to Prospero and his guests?
The story takes place at the castellated abbey of the "happy and dauntless and sagacious" Prince Prospero. Prospero and 1,000 other nobles have taken refuge in this walled abbey to escape the Red Death, a terrible plague with gruesome symptoms that has swept over the land. Victims are overcome by "sharp pains", "sudden dizziness", and hematidrosis, and die within half an hour. Prospero and his court are indifferent to the sufferings of the population at large; they intend to await the end of the plague in luxury and safety behind the walls of their secure refuge, having welded the doors shut.
One night, Prospero holds a masquerade ball to entertain his guests in seven colored rooms of the abbey. Each of the first six rooms is decorated and illuminated in a specific color: blue, purple, green, orange, white, and violet. The last room is decorated in black and is illuminated by a scarlet light, "a deep blood color" cast from its stained glass windows. Because of this chilling pairing of colors, very few guests are brave enough to venture into the seventh room. A large ebony clock stands in this room and ominously chimes each hour, upon which everyone stops talking or dancing and the orchestra stops playing. Once the chiming stops, everyone immediately resumes the masquerade.
At the chiming of midnight, the revelers and Prospero notice a figure in a dark, blood-splattered robe resembling a funeral shroud. The figure's mask resembles the rigid face of a corpse and exhibits the traits of the Red Death. Gravely insulted, Prospero demands to know the identity of the mysterious guest so they can hang him. The guests, too afraid to approach the figure, instead let him pass through the six chambers. The Prince pursues him with a drawn dagger and corners the guest in the seventh room. When the figure turns to face him, the Prince lets out a sharp cry and falls dead. The enraged and terrified revelers surge into the black room and forcibly remove the mask and robe, only to find to their horror that there is nothing underneath. Only then do they realize the figure is the Red Death itself, and all of the guests contract and succumb to the disease. The final line of the story sums up, "And Darkness and Decay and the Red Death held illimitable dominion over all".
Output: How quickly does the Red Death kill the victims?
The story takes place at the castellated abbey of the "happy and dauntless and sagacious" Prince Prospero. Prospero and 1,000 other nobles have taken refuge in this walled abbey to escape the Red Death, a terrible plague with gruesome symptoms that has swept over the land. Victims are overcome by "sharp pains", "sudden dizziness", and hematidrosis, and die within half an hour. Prospero and his court are indifferent to the sufferings of the population at large; they intend to await the end of the plague in luxury and safety behind the walls of their secure refuge, having welded the doors shut.
One night, Prospero holds a masquerade ball to entertain his guests in seven colored rooms of the abbey. Each of the first six rooms is decorated and illuminated in a specific color: blue, purple, green, orange, white, and violet. The last room is decorated in black and is illuminated by a scarlet light, "a deep blood color" cast from its stained glass windows. Because of this chilling pairing of colors, very few guests are brave enough to venture into the seventh room. A large ebony clock stands in this room and ominously chimes each hour, upon which everyone stops talking or dancing and the orchestra stops playing. Once the chiming stops, everyone immediately resumes the masquerade.
At the chiming of midnight, the revelers and Prospero notice a figure in a dark, blood-splattered robe resembling a funeral shroud. The figure's mask resembles the rigid face of a corpse and exhibits the traits of the Red Death. Gravely insulted, Prospero demands to know the identity of the mysterious guest so they can hang him. The guests, too afraid to approach the figure, instead let him pass through the six chambers. The Prince pursues him with a drawn dagger and corners the guest in the seventh room. When the figure turns to face him, the Prince lets out a sharp cry and falls dead. The enraged and terrified revelers surge into the black room and forcibly remove the mask and robe, only to find to their horror that there is nothing underneath. Only then do they realize the figure is the Red Death itself, and all of the guests contract and succumb to the disease. The final line of the story sums up, "And Darkness and Decay and the Red Death held illimitable dominion over all".
Output: How many courtesans joined Prospero in refuge?