niryuu/sni-each-converted huggingface dataset:
After the assassination of Domitian in AD96, and amid the predictable turmoil of the regime change, Tacitus used his new-found freedom to publish this, his first historical work. During the reign of Domitian, Agricola, a faithful imperial general, had been the most important general involved in the conquest of a great part of Britain. The proud tone of the Agricola recalls the style of the laudationes funebres (funeral speeches). A quick r sum  of the career of Agricola prior to his mission in Britain is followed by a narration of the conquest of the island. There is a geographical and ethnological digression, taken not only from notes and memories of Agricola but also from the De Bello Gallico of Julius Caesar. The content is so varied as to go beyond the limits of a simple biography, but the narration, whatever its form, serves to exalt the subject of the biography.
Tacitus exalts the character of his father-in-law, by showing how   as governor of Roman Britain and commander of the army   he attends to matters of state with fidelity, honesty, and competence, even under the government of the hated Emperor Domitian. Critiques of Domitian and of his regime of spying and repression come to the fore at the work's conclusion. Agricola remained uncorrupted; in disgrace under Domitian, he died without seeking the glory of an ostentatious martyrdom. Tacitus condemns the suicide of the Stoics as of no benefit to the state. Tacitus makes no clear statement as to whether the death of Agricola was from natural causes or ordered by Domitian, although he does say that rumors were voiced in Rome that Agricola was poisoned on the Emperor's orders.
Output: What assassination took place in AD 96?
After the assassination of Domitian in AD96, and amid the predictable turmoil of the regime change, Tacitus used his new-found freedom to publish this, his first historical work. During the reign of Domitian, Agricola, a faithful imperial general, had been the most important general involved in the conquest of a great part of Britain. The proud tone of the Agricola recalls the style of the laudationes funebres (funeral speeches). A quick r sum  of the career of Agricola prior to his mission in Britain is followed by a narration of the conquest of the island. There is a geographical and ethnological digression, taken not only from notes and memories of Agricola but also from the De Bello Gallico of Julius Caesar. The content is so varied as to go beyond the limits of a simple biography, but the narration, whatever its form, serves to exalt the subject of the biography.
Tacitus exalts the character of his father-in-law, by showing how   as governor of Roman Britain and commander of the army   he attends to matters of state with fidelity, honesty, and competence, even under the government of the hated Emperor Domitian. Critiques of Domitian and of his regime of spying and repression come to the fore at the work's conclusion. Agricola remained uncorrupted; in disgrace under Domitian, he died without seeking the glory of an ostentatious martyrdom. Tacitus condemns the suicide of the Stoics as of no benefit to the state. Tacitus makes no clear statement as to whether the death of Agricola was from natural causes or ordered by Domitian, although he does say that rumors were voiced in Rome that Agricola was poisoned on the Emperor's orders.
Output: Who was Tacitus's father-in-law?
After the assassination of Domitian in AD96, and amid the predictable turmoil of the regime change, Tacitus used his new-found freedom to publish this, his first historical work. During the reign of Domitian, Agricola, a faithful imperial general, had been the most important general involved in the conquest of a great part of Britain. The proud tone of the Agricola recalls the style of the laudationes funebres (funeral speeches). A quick r sum  of the career of Agricola prior to his mission in Britain is followed by a narration of the conquest of the island. There is a geographical and ethnological digression, taken not only from notes and memories of Agricola but also from the De Bello Gallico of Julius Caesar. The content is so varied as to go beyond the limits of a simple biography, but the narration, whatever its form, serves to exalt the subject of the biography.
Tacitus exalts the character of his father-in-law, by showing how   as governor of Roman Britain and commander of the army   he attends to matters of state with fidelity, honesty, and competence, even under the government of the hated Emperor Domitian. Critiques of Domitian and of his regime of spying and repression come to the fore at the work's conclusion. Agricola remained uncorrupted; in disgrace under Domitian, he died without seeking the glory of an ostentatious martyrdom. Tacitus condemns the suicide of the Stoics as of no benefit to the state. Tacitus makes no clear statement as to whether the death of Agricola was from natural causes or ordered by Domitian, although he does say that rumors were voiced in Rome that Agricola was poisoned on the Emperor's orders.
Output: Who is commander of the army?
After the assassination of Domitian in AD96, and amid the predictable turmoil of the regime change, Tacitus used his new-found freedom to publish this, his first historical work. During the reign of Domitian, Agricola, a faithful imperial general, had been the most important general involved in the conquest of a great part of Britain. The proud tone of the Agricola recalls the style of the laudationes funebres (funeral speeches). A quick r sum  of the career of Agricola prior to his mission in Britain is followed by a narration of the conquest of the island. There is a geographical and ethnological digression, taken not only from notes and memories of Agricola but also from the De Bello Gallico of Julius Caesar. The content is so varied as to go beyond the limits of a simple biography, but the narration, whatever its form, serves to exalt the subject of the biography.
Tacitus exalts the character of his father-in-law, by showing how   as governor of Roman Britain and commander of the army   he attends to matters of state with fidelity, honesty, and competence, even under the government of the hated Emperor Domitian. Critiques of Domitian and of his regime of spying and repression come to the fore at the work's conclusion. Agricola remained uncorrupted; in disgrace under Domitian, he died without seeking the glory of an ostentatious martyrdom. Tacitus condemns the suicide of the Stoics as of no benefit to the state. Tacitus makes no clear statement as to whether the death of Agricola was from natural causes or ordered by Domitian, although he does say that rumors were voiced in Rome that Agricola was poisoned on the Emperor's orders.
Output: What did tacitus condemn as of no benefit to the state?
After the assassination of Domitian in AD96, and amid the predictable turmoil of the regime change, Tacitus used his new-found freedom to publish this, his first historical work. During the reign of Domitian, Agricola, a faithful imperial general, had been the most important general involved in the conquest of a great part of Britain. The proud tone of the Agricola recalls the style of the laudationes funebres (funeral speeches). A quick r sum  of the career of Agricola prior to his mission in Britain is followed by a narration of the conquest of the island. There is a geographical and ethnological digression, taken not only from notes and memories of Agricola but also from the De Bello Gallico of Julius Caesar. The content is so varied as to go beyond the limits of a simple biography, but the narration, whatever its form, serves to exalt the subject of the biography.
Tacitus exalts the character of his father-in-law, by showing how   as governor of Roman Britain and commander of the army   he attends to matters of state with fidelity, honesty, and competence, even under the government of the hated Emperor Domitian. Critiques of Domitian and of his regime of spying and repression come to the fore at the work's conclusion. Agricola remained uncorrupted; in disgrace under Domitian, he died without seeking the glory of an ostentatious martyrdom. Tacitus condemns the suicide of the Stoics as of no benefit to the state. Tacitus makes no clear statement as to whether the death of Agricola was from natural causes or ordered by Domitian, although he does say that rumors were voiced in Rome that Agricola was poisoned on the Emperor's orders.
Output: What was the rumor about the way Agricola died?
After the assassination of Domitian in AD96, and amid the predictable turmoil of the regime change, Tacitus used his new-found freedom to publish this, his first historical work. During the reign of Domitian, Agricola, a faithful imperial general, had been the most important general involved in the conquest of a great part of Britain. The proud tone of the Agricola recalls the style of the laudationes funebres (funeral speeches). A quick r sum  of the career of Agricola prior to his mission in Britain is followed by a narration of the conquest of the island. There is a geographical and ethnological digression, taken not only from notes and memories of Agricola but also from the De Bello Gallico of Julius Caesar. The content is so varied as to go beyond the limits of a simple biography, but the narration, whatever its form, serves to exalt the subject of the biography.
Tacitus exalts the character of his father-in-law, by showing how   as governor of Roman Britain and commander of the army   he attends to matters of state with fidelity, honesty, and competence, even under the government of the hated Emperor Domitian. Critiques of Domitian and of his regime of spying and repression come to the fore at the work's conclusion. Agricola remained uncorrupted; in disgrace under Domitian, he died without seeking the glory of an ostentatious martyrdom. Tacitus condemns the suicide of the Stoics as of no benefit to the state. Tacitus makes no clear statement as to whether the death of Agricola was from natural causes or ordered by Domitian, although he does say that rumors were voiced in Rome that Agricola was poisoned on the Emperor's orders.
Output: The tone of Agricola recalls what style?
After the assassination of Domitian in AD96, and amid the predictable turmoil of the regime change, Tacitus used his new-found freedom to publish this, his first historical work. During the reign of Domitian, Agricola, a faithful imperial general, had been the most important general involved in the conquest of a great part of Britain. The proud tone of the Agricola recalls the style of the laudationes funebres (funeral speeches). A quick r sum  of the career of Agricola prior to his mission in Britain is followed by a narration of the conquest of the island. There is a geographical and ethnological digression, taken not only from notes and memories of Agricola but also from the De Bello Gallico of Julius Caesar. The content is so varied as to go beyond the limits of a simple biography, but the narration, whatever its form, serves to exalt the subject of the biography.
Tacitus exalts the character of his father-in-law, by showing how   as governor of Roman Britain and commander of the army   he attends to matters of state with fidelity, honesty, and competence, even under the government of the hated Emperor Domitian. Critiques of Domitian and of his regime of spying and repression come to the fore at the work's conclusion. Agricola remained uncorrupted; in disgrace under Domitian, he died without seeking the glory of an ostentatious martyrdom. Tacitus condemns the suicide of the Stoics as of no benefit to the state. Tacitus makes no clear statement as to whether the death of Agricola was from natural causes or ordered by Domitian, although he does say that rumors were voiced in Rome that Agricola was poisoned on the Emperor's orders.
Output: What remarks does Tacitus offer regarding the death of Agricola?
After the assassination of Domitian in AD96, and amid the predictable turmoil of the regime change, Tacitus used his new-found freedom to publish this, his first historical work. During the reign of Domitian, Agricola, a faithful imperial general, had been the most important general involved in the conquest of a great part of Britain. The proud tone of the Agricola recalls the style of the laudationes funebres (funeral speeches). A quick r sum  of the career of Agricola prior to his mission in Britain is followed by a narration of the conquest of the island. There is a geographical and ethnological digression, taken not only from notes and memories of Agricola but also from the De Bello Gallico of Julius Caesar. The content is so varied as to go beyond the limits of a simple biography, but the narration, whatever its form, serves to exalt the subject of the biography.
Tacitus exalts the character of his father-in-law, by showing how   as governor of Roman Britain and commander of the army   he attends to matters of state with fidelity, honesty, and competence, even under the government of the hated Emperor Domitian. Critiques of Domitian and of his regime of spying and repression come to the fore at the work's conclusion. Agricola remained uncorrupted; in disgrace under Domitian, he died without seeking the glory of an ostentatious martyrdom. Tacitus condemns the suicide of the Stoics as of no benefit to the state. Tacitus makes no clear statement as to whether the death of Agricola was from natural causes or ordered by Domitian, although he does say that rumors were voiced in Rome that Agricola was poisoned on the Emperor's orders.
Output: What is Tacitus governor of?
After the assassination of Domitian in AD96, and amid the predictable turmoil of the regime change, Tacitus used his new-found freedom to publish this, his first historical work. During the reign of Domitian, Agricola, a faithful imperial general, had been the most important general involved in the conquest of a great part of Britain. The proud tone of the Agricola recalls the style of the laudationes funebres (funeral speeches). A quick r sum  of the career of Agricola prior to his mission in Britain is followed by a narration of the conquest of the island. There is a geographical and ethnological digression, taken not only from notes and memories of Agricola but also from the De Bello Gallico of Julius Caesar. The content is so varied as to go beyond the limits of a simple biography, but the narration, whatever its form, serves to exalt the subject of the biography.
Tacitus exalts the character of his father-in-law, by showing how   as governor of Roman Britain and commander of the army   he attends to matters of state with fidelity, honesty, and competence, even under the government of the hated Emperor Domitian. Critiques of Domitian and of his regime of spying and repression come to the fore at the work's conclusion. Agricola remained uncorrupted; in disgrace under Domitian, he died without seeking the glory of an ostentatious martyrdom. Tacitus condemns the suicide of the Stoics as of no benefit to the state. Tacitus makes no clear statement as to whether the death of Agricola was from natural causes or ordered by Domitian, although he does say that rumors were voiced in Rome that Agricola was poisoned on the Emperor's orders.
Output: Who was the most important general involved in the conquest of Britan?
After the assassination of Domitian in AD96, and amid the predictable turmoil of the regime change, Tacitus used his new-found freedom to publish this, his first historical work. During the reign of Domitian, Agricola, a faithful imperial general, had been the most important general involved in the conquest of a great part of Britain. The proud tone of the Agricola recalls the style of the laudationes funebres (funeral speeches). A quick r sum  of the career of Agricola prior to his mission in Britain is followed by a narration of the conquest of the island. There is a geographical and ethnological digression, taken not only from notes and memories of Agricola but also from the De Bello Gallico of Julius Caesar. The content is so varied as to go beyond the limits of a simple biography, but the narration, whatever its form, serves to exalt the subject of the biography.
Tacitus exalts the character of his father-in-law, by showing how   as governor of Roman Britain and commander of the army   he attends to matters of state with fidelity, honesty, and competence, even under the government of the hated Emperor Domitian. Critiques of Domitian and of his regime of spying and repression come to the fore at the work's conclusion. Agricola remained uncorrupted; in disgrace under Domitian, he died without seeking the glory of an ostentatious martyrdom. Tacitus condemns the suicide of the Stoics as of no benefit to the state. Tacitus makes no clear statement as to whether the death of Agricola was from natural causes or ordered by Domitian, although he does say that rumors were voiced in Rome that Agricola was poisoned on the Emperor's orders.
Output: Which Emperor is hated?
After the assassination of Domitian in AD96, and amid the predictable turmoil of the regime change, Tacitus used his new-found freedom to publish this, his first historical work. During the reign of Domitian, Agricola, a faithful imperial general, had been the most important general involved in the conquest of a great part of Britain. The proud tone of the Agricola recalls the style of the laudationes funebres (funeral speeches). A quick r sum  of the career of Agricola prior to his mission in Britain is followed by a narration of the conquest of the island. There is a geographical and ethnological digression, taken not only from notes and memories of Agricola but also from the De Bello Gallico of Julius Caesar. The content is so varied as to go beyond the limits of a simple biography, but the narration, whatever its form, serves to exalt the subject of the biography.
Tacitus exalts the character of his father-in-law, by showing how   as governor of Roman Britain and commander of the army   he attends to matters of state with fidelity, honesty, and competence, even under the government of the hated Emperor Domitian. Critiques of Domitian and of his regime of spying and repression come to the fore at the work's conclusion. Agricola remained uncorrupted; in disgrace under Domitian, he died without seeking the glory of an ostentatious martyrdom. Tacitus condemns the suicide of the Stoics as of no benefit to the state. Tacitus makes no clear statement as to whether the death of Agricola was from natural causes or ordered by Domitian, although he does say that rumors were voiced in Rome that Agricola was poisoned on the Emperor's orders.
Output: Agricola died without seeking the glory of what?
After the assassination of Domitian in AD96, and amid the predictable turmoil of the regime change, Tacitus used his new-found freedom to publish this, his first historical work. During the reign of Domitian, Agricola, a faithful imperial general, had been the most important general involved in the conquest of a great part of Britain. The proud tone of the Agricola recalls the style of the laudationes funebres (funeral speeches). A quick r sum  of the career of Agricola prior to his mission in Britain is followed by a narration of the conquest of the island. There is a geographical and ethnological digression, taken not only from notes and memories of Agricola but also from the De Bello Gallico of Julius Caesar. The content is so varied as to go beyond the limits of a simple biography, but the narration, whatever its form, serves to exalt the subject of the biography.
Tacitus exalts the character of his father-in-law, by showing how   as governor of Roman Britain and commander of the army   he attends to matters of state with fidelity, honesty, and competence, even under the government of the hated Emperor Domitian. Critiques of Domitian and of his regime of spying and repression come to the fore at the work's conclusion. Agricola remained uncorrupted; in disgrace under Domitian, he died without seeking the glory of an ostentatious martyrdom. Tacitus condemns the suicide of the Stoics as of no benefit to the state. Tacitus makes no clear statement as to whether the death of Agricola was from natural causes or ordered by Domitian, although he does say that rumors were voiced in Rome that Agricola was poisoned on the Emperor's orders.
Output: What do the rumors of Agricola being poisoned say about whose orders they were?
After the assassination of Domitian in AD96, and amid the predictable turmoil of the regime change, Tacitus used his new-found freedom to publish this, his first historical work. During the reign of Domitian, Agricola, a faithful imperial general, had been the most important general involved in the conquest of a great part of Britain. The proud tone of the Agricola recalls the style of the laudationes funebres (funeral speeches). A quick r sum  of the career of Agricola prior to his mission in Britain is followed by a narration of the conquest of the island. There is a geographical and ethnological digression, taken not only from notes and memories of Agricola but also from the De Bello Gallico of Julius Caesar. The content is so varied as to go beyond the limits of a simple biography, but the narration, whatever its form, serves to exalt the subject of the biography.
Tacitus exalts the character of his father-in-law, by showing how   as governor of Roman Britain and commander of the army   he attends to matters of state with fidelity, honesty, and competence, even under the government of the hated Emperor Domitian. Critiques of Domitian and of his regime of spying and repression come to the fore at the work's conclusion. Agricola remained uncorrupted; in disgrace under Domitian, he died without seeking the glory of an ostentatious martyrdom. Tacitus condemns the suicide of the Stoics as of no benefit to the state. Tacitus makes no clear statement as to whether the death of Agricola was from natural causes or ordered by Domitian, although he does say that rumors were voiced in Rome that Agricola was poisoned on the Emperor's orders.
Output: Who remained uncorrupted?
After the assassination of Domitian in AD96, and amid the predictable turmoil of the regime change, Tacitus used his new-found freedom to publish this, his first historical work. During the reign of Domitian, Agricola, a faithful imperial general, had been the most important general involved in the conquest of a great part of Britain. The proud tone of the Agricola recalls the style of the laudationes funebres (funeral speeches). A quick r sum  of the career of Agricola prior to his mission in Britain is followed by a narration of the conquest of the island. There is a geographical and ethnological digression, taken not only from notes and memories of Agricola but also from the De Bello Gallico of Julius Caesar. The content is so varied as to go beyond the limits of a simple biography, but the narration, whatever its form, serves to exalt the subject of the biography.
Tacitus exalts the character of his father-in-law, by showing how   as governor of Roman Britain and commander of the army   he attends to matters of state with fidelity, honesty, and competence, even under the government of the hated Emperor Domitian. Critiques of Domitian and of his regime of spying and repression come to the fore at the work's conclusion. Agricola remained uncorrupted; in disgrace under Domitian, he died without seeking the glory of an ostentatious martyrdom. Tacitus condemns the suicide of the Stoics as of no benefit to the state. Tacitus makes no clear statement as to whether the death of Agricola was from natural causes or ordered by Domitian, although he does say that rumors were voiced in Rome that Agricola was poisoned on the Emperor's orders.
Output: When was the assassination of Domitian?
After the assassination of Domitian in AD96, and amid the predictable turmoil of the regime change, Tacitus used his new-found freedom to publish this, his first historical work. During the reign of Domitian, Agricola, a faithful imperial general, had been the most important general involved in the conquest of a great part of Britain. The proud tone of the Agricola recalls the style of the laudationes funebres (funeral speeches). A quick r sum  of the career of Agricola prior to his mission in Britain is followed by a narration of the conquest of the island. There is a geographical and ethnological digression, taken not only from notes and memories of Agricola but also from the De Bello Gallico of Julius Caesar. The content is so varied as to go beyond the limits of a simple biography, but the narration, whatever its form, serves to exalt the subject of the biography.
Tacitus exalts the character of his father-in-law, by showing how   as governor of Roman Britain and commander of the army   he attends to matters of state with fidelity, honesty, and competence, even under the government of the hated Emperor Domitian. Critiques of Domitian and of his regime of spying and repression come to the fore at the work's conclusion. Agricola remained uncorrupted; in disgrace under Domitian, he died without seeking the glory of an ostentatious martyrdom. Tacitus condemns the suicide of the Stoics as of no benefit to the state. Tacitus makes no clear statement as to whether the death of Agricola was from natural causes or ordered by Domitian, although he does say that rumors were voiced in Rome that Agricola was poisoned on the Emperor's orders.
Output: Who was the most important general involved in the conquest of Britain?
After the assassination of Domitian in AD96, and amid the predictable turmoil of the regime change, Tacitus used his new-found freedom to publish this, his first historical work. During the reign of Domitian, Agricola, a faithful imperial general, had been the most important general involved in the conquest of a great part of Britain. The proud tone of the Agricola recalls the style of the laudationes funebres (funeral speeches). A quick r sum  of the career of Agricola prior to his mission in Britain is followed by a narration of the conquest of the island. There is a geographical and ethnological digression, taken not only from notes and memories of Agricola but also from the De Bello Gallico of Julius Caesar. The content is so varied as to go beyond the limits of a simple biography, but the narration, whatever its form, serves to exalt the subject of the biography.
Tacitus exalts the character of his father-in-law, by showing how   as governor of Roman Britain and commander of the army   he attends to matters of state with fidelity, honesty, and competence, even under the government of the hated Emperor Domitian. Critiques of Domitian and of his regime of spying and repression come to the fore at the work's conclusion. Agricola remained uncorrupted; in disgrace under Domitian, he died without seeking the glory of an ostentatious martyrdom. Tacitus condemns the suicide of the Stoics as of no benefit to the state. Tacitus makes no clear statement as to whether the death of Agricola was from natural causes or ordered by Domitian, although he does say that rumors were voiced in Rome that Agricola was poisoned on the Emperor's orders.
Output: Who was the Emporer of Rome?
After the assassination of Domitian in AD96, and amid the predictable turmoil of the regime change, Tacitus used his new-found freedom to publish this, his first historical work. During the reign of Domitian, Agricola, a faithful imperial general, had been the most important general involved in the conquest of a great part of Britain. The proud tone of the Agricola recalls the style of the laudationes funebres (funeral speeches). A quick r sum  of the career of Agricola prior to his mission in Britain is followed by a narration of the conquest of the island. There is a geographical and ethnological digression, taken not only from notes and memories of Agricola but also from the De Bello Gallico of Julius Caesar. The content is so varied as to go beyond the limits of a simple biography, but the narration, whatever its form, serves to exalt the subject of the biography.
Tacitus exalts the character of his father-in-law, by showing how   as governor of Roman Britain and commander of the army   he attends to matters of state with fidelity, honesty, and competence, even under the government of the hated Emperor Domitian. Critiques of Domitian and of his regime of spying and repression come to the fore at the work's conclusion. Agricola remained uncorrupted; in disgrace under Domitian, he died without seeking the glory of an ostentatious martyrdom. Tacitus condemns the suicide of the Stoics as of no benefit to the state. Tacitus makes no clear statement as to whether the death of Agricola was from natural causes or ordered by Domitian, although he does say that rumors were voiced in Rome that Agricola was poisoned on the Emperor's orders.
Output: Where were the rumors of Agricola being poisoned come from?
After the assassination of Domitian in AD96, and amid the predictable turmoil of the regime change, Tacitus used his new-found freedom to publish this, his first historical work. During the reign of Domitian, Agricola, a faithful imperial general, had been the most important general involved in the conquest of a great part of Britain. The proud tone of the Agricola recalls the style of the laudationes funebres (funeral speeches). A quick r sum  of the career of Agricola prior to his mission in Britain is followed by a narration of the conquest of the island. There is a geographical and ethnological digression, taken not only from notes and memories of Agricola but also from the De Bello Gallico of Julius Caesar. The content is so varied as to go beyond the limits of a simple biography, but the narration, whatever its form, serves to exalt the subject of the biography.
Tacitus exalts the character of his father-in-law, by showing how   as governor of Roman Britain and commander of the army   he attends to matters of state with fidelity, honesty, and competence, even under the government of the hated Emperor Domitian. Critiques of Domitian and of his regime of spying and repression come to the fore at the work's conclusion. Agricola remained uncorrupted; in disgrace under Domitian, he died without seeking the glory of an ostentatious martyrdom. Tacitus condemns the suicide of the Stoics as of no benefit to the state. Tacitus makes no clear statement as to whether the death of Agricola was from natural causes or ordered by Domitian, although he does say that rumors were voiced in Rome that Agricola was poisoned on the Emperor's orders.
Output: Whose reign did Agricola die under?
After the assassination of Domitian in AD96, and amid the predictable turmoil of the regime change, Tacitus used his new-found freedom to publish this, his first historical work. During the reign of Domitian, Agricola, a faithful imperial general, had been the most important general involved in the conquest of a great part of Britain. The proud tone of the Agricola recalls the style of the laudationes funebres (funeral speeches). A quick r sum  of the career of Agricola prior to his mission in Britain is followed by a narration of the conquest of the island. There is a geographical and ethnological digression, taken not only from notes and memories of Agricola but also from the De Bello Gallico of Julius Caesar. The content is so varied as to go beyond the limits of a simple biography, but the narration, whatever its form, serves to exalt the subject of the biography.
Tacitus exalts the character of his father-in-law, by showing how   as governor of Roman Britain and commander of the army   he attends to matters of state with fidelity, honesty, and competence, even under the government of the hated Emperor Domitian. Critiques of Domitian and of his regime of spying and repression come to the fore at the work's conclusion. Agricola remained uncorrupted; in disgrace under Domitian, he died without seeking the glory of an ostentatious martyrdom. Tacitus condemns the suicide of the Stoics as of no benefit to the state. Tacitus makes no clear statement as to whether the death of Agricola was from natural causes or ordered by Domitian, although he does say that rumors were voiced in Rome that Agricola was poisoned on the Emperor's orders.
Output: Who condemns the suicides of the Stoics?
This memoir tells of a precocious boy who loved the sights and sounds of his childhood but felt reticent about full participation in life. The note is sounded from the first chapters, as James recounts the limitations and rewards of the child he was:
"For there was the very pattern and measure of all he was to demand: just to be somewhere almost anywhere would do and somehow receive an impression or an accession, feel a relation or a vibration. He was to go without many things, ever so many as all people do in whom contemplation takes so much the place of action; but everywhere...he was to enjoy more than anything the so far from showy practice of wondering and dawdling and gaping: he was really, I think, much to profit by it."
James clearly suffered from a sense of his inferiority in the "showy", active parts of life. His older brother William always seemed superior in ability; his classmates scorned his hopelessness at math and science; even at a party he felt too embarrassed to join in the dancing.
But he still observed and fantasized about all his family and his surroundings had to offer. When a cousin of his was told "don't make a scene," he suddenly realized that scenes could be made by telling a story or inventing a play. He went often to the theater and fell forever under its spell. His family met William Thackeray and Charles Dickens on their American tours, and James even remembered Thackeray mock-scolding his sister Alice for her crinoline dress: "Crinoline? I was suspecting it! So young and so depraved!"
In fact, for all his surface diffidence, James harbored almost Napoleonic dreams of glory as an artist. Near the close of A Small Boy and Others he tells how, in much later years, he dreamed of routing a monstrous attacker and chasing him away through the halls of the Louvre, which he had seen as a child. The small boy, as hesitant and uncertain as he might seem, would triumph over his fears and develop his superb aptitude for narrative fiction.
Output: Who mocked James' sister, Alice?
This memoir tells of a precocious boy who loved the sights and sounds of his childhood but felt reticent about full participation in life. The note is sounded from the first chapters, as James recounts the limitations and rewards of the child he was:
"For there was the very pattern and measure of all he was to demand: just to be somewhere almost anywhere would do and somehow receive an impression or an accession, feel a relation or a vibration. He was to go without many things, ever so many as all people do in whom contemplation takes so much the place of action; but everywhere...he was to enjoy more than anything the so far from showy practice of wondering and dawdling and gaping: he was really, I think, much to profit by it."
James clearly suffered from a sense of his inferiority in the "showy", active parts of life. His older brother William always seemed superior in ability; his classmates scorned his hopelessness at math and science; even at a party he felt too embarrassed to join in the dancing.
But he still observed and fantasized about all his family and his surroundings had to offer. When a cousin of his was told "don't make a scene," he suddenly realized that scenes could be made by telling a story or inventing a play. He went often to the theater and fell forever under its spell. His family met William Thackeray and Charles Dickens on their American tours, and James even remembered Thackeray mock-scolding his sister Alice for her crinoline dress: "Crinoline? I was suspecting it! So young and so depraved!"
In fact, for all his surface diffidence, James harbored almost Napoleonic dreams of glory as an artist. Near the close of A Small Boy and Others he tells how, in much later years, he dreamed of routing a monstrous attacker and chasing him away through the halls of the Louvre, which he had seen as a child. The small boy, as hesitant and uncertain as he might seem, would triumph over his fears and develop his superb aptitude for narrative fiction.
Output: Who does James envy for his superior abilities in regards to the "showy" things?
This memoir tells of a precocious boy who loved the sights and sounds of his childhood but felt reticent about full participation in life. The note is sounded from the first chapters, as James recounts the limitations and rewards of the child he was:
"For there was the very pattern and measure of all he was to demand: just to be somewhere almost anywhere would do and somehow receive an impression or an accession, feel a relation or a vibration. He was to go without many things, ever so many as all people do in whom contemplation takes so much the place of action; but everywhere...he was to enjoy more than anything the so far from showy practice of wondering and dawdling and gaping: he was really, I think, much to profit by it."
James clearly suffered from a sense of his inferiority in the "showy", active parts of life. His older brother William always seemed superior in ability; his classmates scorned his hopelessness at math and science; even at a party he felt too embarrassed to join in the dancing.
But he still observed and fantasized about all his family and his surroundings had to offer. When a cousin of his was told "don't make a scene," he suddenly realized that scenes could be made by telling a story or inventing a play. He went often to the theater and fell forever under its spell. His family met William Thackeray and Charles Dickens on their American tours, and James even remembered Thackeray mock-scolding his sister Alice for her crinoline dress: "Crinoline? I was suspecting it! So young and so depraved!"
In fact, for all his surface diffidence, James harbored almost Napoleonic dreams of glory as an artist. Near the close of A Small Boy and Others he tells how, in much later years, he dreamed of routing a monstrous attacker and chasing him away through the halls of the Louvre, which he had seen as a child. The small boy, as hesitant and uncertain as he might seem, would triumph over his fears and develop his superb aptitude for narrative fiction.
Output: What did James learn when his cousin was told to not make a scene?
This memoir tells of a precocious boy who loved the sights and sounds of his childhood but felt reticent about full participation in life. The note is sounded from the first chapters, as James recounts the limitations and rewards of the child he was:
"For there was the very pattern and measure of all he was to demand: just to be somewhere almost anywhere would do and somehow receive an impression or an accession, feel a relation or a vibration. He was to go without many things, ever so many as all people do in whom contemplation takes so much the place of action; but everywhere...he was to enjoy more than anything the so far from showy practice of wondering and dawdling and gaping: he was really, I think, much to profit by it."
James clearly suffered from a sense of his inferiority in the "showy", active parts of life. His older brother William always seemed superior in ability; his classmates scorned his hopelessness at math and science; even at a party he felt too embarrassed to join in the dancing.
But he still observed and fantasized about all his family and his surroundings had to offer. When a cousin of his was told "don't make a scene," he suddenly realized that scenes could be made by telling a story or inventing a play. He went often to the theater and fell forever under its spell. His family met William Thackeray and Charles Dickens on their American tours, and James even remembered Thackeray mock-scolding his sister Alice for her crinoline dress: "Crinoline? I was suspecting it! So young and so depraved!"
In fact, for all his surface diffidence, James harbored almost Napoleonic dreams of glory as an artist. Near the close of A Small Boy and Others he tells how, in much later years, he dreamed of routing a monstrous attacker and chasing him away through the halls of the Louvre, which he had seen as a child. The small boy, as hesitant and uncertain as he might seem, would triumph over his fears and develop his superb aptitude for narrative fiction.
Output: Who is the narrator of the story?
This memoir tells of a precocious boy who loved the sights and sounds of his childhood but felt reticent about full participation in life. The note is sounded from the first chapters, as James recounts the limitations and rewards of the child he was:
"For there was the very pattern and measure of all he was to demand: just to be somewhere almost anywhere would do and somehow receive an impression or an accession, feel a relation or a vibration. He was to go without many things, ever so many as all people do in whom contemplation takes so much the place of action; but everywhere...he was to enjoy more than anything the so far from showy practice of wondering and dawdling and gaping: he was really, I think, much to profit by it."
James clearly suffered from a sense of his inferiority in the "showy", active parts of life. His older brother William always seemed superior in ability; his classmates scorned his hopelessness at math and science; even at a party he felt too embarrassed to join in the dancing.
But he still observed and fantasized about all his family and his surroundings had to offer. When a cousin of his was told "don't make a scene," he suddenly realized that scenes could be made by telling a story or inventing a play. He went often to the theater and fell forever under its spell. His family met William Thackeray and Charles Dickens on their American tours, and James even remembered Thackeray mock-scolding his sister Alice for her crinoline dress: "Crinoline? I was suspecting it! So young and so depraved!"
In fact, for all his surface diffidence, James harbored almost Napoleonic dreams of glory as an artist. Near the close of A Small Boy and Others he tells how, in much later years, he dreamed of routing a monstrous attacker and chasing him away through the halls of the Louvre, which he had seen as a child. The small boy, as hesitant and uncertain as he might seem, would triumph over his fears and develop his superb aptitude for narrative fiction.
Output: James harbored dreams of glory about becoming what?
This memoir tells of a precocious boy who loved the sights and sounds of his childhood but felt reticent about full participation in life. The note is sounded from the first chapters, as James recounts the limitations and rewards of the child he was:
"For there was the very pattern and measure of all he was to demand: just to be somewhere almost anywhere would do and somehow receive an impression or an accession, feel a relation or a vibration. He was to go without many things, ever so many as all people do in whom contemplation takes so much the place of action; but everywhere...he was to enjoy more than anything the so far from showy practice of wondering and dawdling and gaping: he was really, I think, much to profit by it."
James clearly suffered from a sense of his inferiority in the "showy", active parts of life. His older brother William always seemed superior in ability; his classmates scorned his hopelessness at math and science; even at a party he felt too embarrassed to join in the dancing.
But he still observed and fantasized about all his family and his surroundings had to offer. When a cousin of his was told "don't make a scene," he suddenly realized that scenes could be made by telling a story or inventing a play. He went often to the theater and fell forever under its spell. His family met William Thackeray and Charles Dickens on their American tours, and James even remembered Thackeray mock-scolding his sister Alice for her crinoline dress: "Crinoline? I was suspecting it! So young and so depraved!"
In fact, for all his surface diffidence, James harbored almost Napoleonic dreams of glory as an artist. Near the close of A Small Boy and Others he tells how, in much later years, he dreamed of routing a monstrous attacker and chasing him away through the halls of the Louvre, which he had seen as a child. The small boy, as hesitant and uncertain as he might seem, would triumph over his fears and develop his superb aptitude for narrative fiction.
Output: How did James feel about the '"showy" aspects of his life?
This memoir tells of a precocious boy who loved the sights and sounds of his childhood but felt reticent about full participation in life. The note is sounded from the first chapters, as James recounts the limitations and rewards of the child he was:
"For there was the very pattern and measure of all he was to demand: just to be somewhere almost anywhere would do and somehow receive an impression or an accession, feel a relation or a vibration. He was to go without many things, ever so many as all people do in whom contemplation takes so much the place of action; but everywhere...he was to enjoy more than anything the so far from showy practice of wondering and dawdling and gaping: he was really, I think, much to profit by it."
James clearly suffered from a sense of his inferiority in the "showy", active parts of life. His older brother William always seemed superior in ability; his classmates scorned his hopelessness at math and science; even at a party he felt too embarrassed to join in the dancing.
But he still observed and fantasized about all his family and his surroundings had to offer. When a cousin of his was told "don't make a scene," he suddenly realized that scenes could be made by telling a story or inventing a play. He went often to the theater and fell forever under its spell. His family met William Thackeray and Charles Dickens on their American tours, and James even remembered Thackeray mock-scolding his sister Alice for her crinoline dress: "Crinoline? I was suspecting it! So young and so depraved!"
In fact, for all his surface diffidence, James harbored almost Napoleonic dreams of glory as an artist. Near the close of A Small Boy and Others he tells how, in much later years, he dreamed of routing a monstrous attacker and chasing him away through the halls of the Louvre, which he had seen as a child. The small boy, as hesitant and uncertain as he might seem, would triumph over his fears and develop his superb aptitude for narrative fiction.
Output: Where did James find comfort?
This memoir tells of a precocious boy who loved the sights and sounds of his childhood but felt reticent about full participation in life. The note is sounded from the first chapters, as James recounts the limitations and rewards of the child he was:
"For there was the very pattern and measure of all he was to demand: just to be somewhere almost anywhere would do and somehow receive an impression or an accession, feel a relation or a vibration. He was to go without many things, ever so many as all people do in whom contemplation takes so much the place of action; but everywhere...he was to enjoy more than anything the so far from showy practice of wondering and dawdling and gaping: he was really, I think, much to profit by it."
James clearly suffered from a sense of his inferiority in the "showy", active parts of life. His older brother William always seemed superior in ability; his classmates scorned his hopelessness at math and science; even at a party he felt too embarrassed to join in the dancing.
But he still observed and fantasized about all his family and his surroundings had to offer. When a cousin of his was told "don't make a scene," he suddenly realized that scenes could be made by telling a story or inventing a play. He went often to the theater and fell forever under its spell. His family met William Thackeray and Charles Dickens on their American tours, and James even remembered Thackeray mock-scolding his sister Alice for her crinoline dress: "Crinoline? I was suspecting it! So young and so depraved!"
In fact, for all his surface diffidence, James harbored almost Napoleonic dreams of glory as an artist. Near the close of A Small Boy and Others he tells how, in much later years, he dreamed of routing a monstrous attacker and chasing him away through the halls of the Louvre, which he had seen as a child. The small boy, as hesitant and uncertain as he might seem, would triumph over his fears and develop his superb aptitude for narrative fiction.
Output: What did James Harbored dreamed of?