niryuu/sni-each-converted huggingface dataset:
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit k mpfen G tter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.
Output: Why does Joan spare the knight that she was about to kill?
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit k mpfen G tter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.
Output: In what year did the Armagnacs and the Burgundians reconcile?
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit k mpfen G tter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.
Output: Who wrote a novel based on a line from the play?
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit k mpfen G tter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.
Output: Who captures and imprisons Joan?
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit k mpfen G tter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.
Output: What is Joan accused of when she goes to Reims?
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit k mpfen G tter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.
Output: How does Joan eventually restore her honor in the eyes of her people?
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit k mpfen G tter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.
Output: Where is Joan accused of sorcery?
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit k mpfen G tter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.
Output: Where is she accused of sorcery?
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit k mpfen G tter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.
Output: Where is Joan when she witnesses the French army being badly defeated by the English?
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit k mpfen G tter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.
Output: Who captures Joan?
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit k mpfen G tter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.
Output: Whose life do the events of this story revolve around?
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit k mpfen G tter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.
Output: What ideals does the play embody?
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit k mpfen G tter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.
Output: From where does Joan witness the defeat of the French?
Mr. Woodchuck is about the time Twinkle's father sets a trap for a woodchuck that lives near his property. Twinkle goes to see the woodchuck get caught, and has a dream in which she meets the woodchuck and his family. The woodchucks put her on trial for being a human, because humans set cruel traps for the purposes of killing woodchucks. Twinkle is sentenced to be put in a trap herself, and when she wakes up from the dream, she convinces her father never to set traps for animals ever again.
Bandit Jim Crow is about a baby crow with a broken wing that Twinkle adopts for a pet. The crow has an evil nature, and as soon as his wing is healed, he kills the family's chickens and escapes to a section of the forest inhabited by birds. There, Jim Crow starts stealing and eating other birds' eggs, until the birds get Policeman Bluejay to keep Jim Crow in check. Jim then disguises himself with chalk, and continues stealing eggs. All the birds attack the disguised Jim Crow, and blind him. Jim Crow is forced to spend the rest of his life helpless, living off of the kindness of the other birds.
Prairie-Dog Town is about how Twinkle and her friend Chubbins go to have a picnic near a prairie dog village. The prairie dogs talk to the children, and the children are magically shrunk down to prairie-dog size so they can enter the village. Inside, they meet a well-to-do family and the mayor of the prairie dog village. The two children are returned to their normal size, and wonder if the whole adventure was simply a dream. (Compare a similar story, "The Discontented Gopher," in Baum's Animal Fairy Tales.)
Prince Mud-Turtle is about Twinkle finding an unusually-colored turtle and bringing it home with her. She later finds that the turtle is a fairy prince named Melga who was put under a curse by the evil Corrugated Giant, a creature with no bones. With the help of the turtle, Twinkle is able to travel to the giant's castle and restore the prince to his normal form. The prince then defeats the giant, and Twinkle is sent back home.
Twinkle's Enchantment is about Twinkle entering a gulch in order to get some berries. She meets many curious proverb-based creatures, such a Rolling Stone That Gathers No Moss, a Little Learning (which she avoids because it is a dangerous thing), a Weasel that Goes "Pop!", and the Birds of One Feather. She then spends time with a dancing bear, and is invited to a grasshopper's ball. She wakes up.
Sugar-Loaf Mountain is about how Twinkle and her friend Chubbins discover a trap door in Sugar-Loaf Mountain. They find a key and enter inside the mountain, where they find a city peopled by beings made entirely out of sugar of one form or another. They are captured by soldiers and taken to the king, who shows them the sights and introduces them to several high-grade citizens. While leaving, Twinkle and Chubbins accidentally drop the key inside, so no one can ever enter Sugar-Loaf Mountain again.
Output: After being captured in Sugar-Loaf Mountain, to whom is Twinkle and her friend taken?
Mr. Woodchuck is about the time Twinkle's father sets a trap for a woodchuck that lives near his property. Twinkle goes to see the woodchuck get caught, and has a dream in which she meets the woodchuck and his family. The woodchucks put her on trial for being a human, because humans set cruel traps for the purposes of killing woodchucks. Twinkle is sentenced to be put in a trap herself, and when she wakes up from the dream, she convinces her father never to set traps for animals ever again.
Bandit Jim Crow is about a baby crow with a broken wing that Twinkle adopts for a pet. The crow has an evil nature, and as soon as his wing is healed, he kills the family's chickens and escapes to a section of the forest inhabited by birds. There, Jim Crow starts stealing and eating other birds' eggs, until the birds get Policeman Bluejay to keep Jim Crow in check. Jim then disguises himself with chalk, and continues stealing eggs. All the birds attack the disguised Jim Crow, and blind him. Jim Crow is forced to spend the rest of his life helpless, living off of the kindness of the other birds.
Prairie-Dog Town is about how Twinkle and her friend Chubbins go to have a picnic near a prairie dog village. The prairie dogs talk to the children, and the children are magically shrunk down to prairie-dog size so they can enter the village. Inside, they meet a well-to-do family and the mayor of the prairie dog village. The two children are returned to their normal size, and wonder if the whole adventure was simply a dream. (Compare a similar story, "The Discontented Gopher," in Baum's Animal Fairy Tales.)
Prince Mud-Turtle is about Twinkle finding an unusually-colored turtle and bringing it home with her. She later finds that the turtle is a fairy prince named Melga who was put under a curse by the evil Corrugated Giant, a creature with no bones. With the help of the turtle, Twinkle is able to travel to the giant's castle and restore the prince to his normal form. The prince then defeats the giant, and Twinkle is sent back home.
Twinkle's Enchantment is about Twinkle entering a gulch in order to get some berries. She meets many curious proverb-based creatures, such a Rolling Stone That Gathers No Moss, a Little Learning (which she avoids because it is a dangerous thing), a Weasel that Goes "Pop!", and the Birds of One Feather. She then spends time with a dancing bear, and is invited to a grasshopper's ball. She wakes up.
Sugar-Loaf Mountain is about how Twinkle and her friend Chubbins discover a trap door in Sugar-Loaf Mountain. They find a key and enter inside the mountain, where they find a city peopled by beings made entirely out of sugar of one form or another. They are captured by soldiers and taken to the king, who shows them the sights and introduces them to several high-grade citizens. While leaving, Twinkle and Chubbins accidentally drop the key inside, so no one can ever enter Sugar-Loaf Mountain again.
Output: What do the prairie dogs magically do to Twinkle?
Mr. Woodchuck is about the time Twinkle's father sets a trap for a woodchuck that lives near his property. Twinkle goes to see the woodchuck get caught, and has a dream in which she meets the woodchuck and his family. The woodchucks put her on trial for being a human, because humans set cruel traps for the purposes of killing woodchucks. Twinkle is sentenced to be put in a trap herself, and when she wakes up from the dream, she convinces her father never to set traps for animals ever again.
Bandit Jim Crow is about a baby crow with a broken wing that Twinkle adopts for a pet. The crow has an evil nature, and as soon as his wing is healed, he kills the family's chickens and escapes to a section of the forest inhabited by birds. There, Jim Crow starts stealing and eating other birds' eggs, until the birds get Policeman Bluejay to keep Jim Crow in check. Jim then disguises himself with chalk, and continues stealing eggs. All the birds attack the disguised Jim Crow, and blind him. Jim Crow is forced to spend the rest of his life helpless, living off of the kindness of the other birds.
Prairie-Dog Town is about how Twinkle and her friend Chubbins go to have a picnic near a prairie dog village. The prairie dogs talk to the children, and the children are magically shrunk down to prairie-dog size so they can enter the village. Inside, they meet a well-to-do family and the mayor of the prairie dog village. The two children are returned to their normal size, and wonder if the whole adventure was simply a dream. (Compare a similar story, "The Discontented Gopher," in Baum's Animal Fairy Tales.)
Prince Mud-Turtle is about Twinkle finding an unusually-colored turtle and bringing it home with her. She later finds that the turtle is a fairy prince named Melga who was put under a curse by the evil Corrugated Giant, a creature with no bones. With the help of the turtle, Twinkle is able to travel to the giant's castle and restore the prince to his normal form. The prince then defeats the giant, and Twinkle is sent back home.
Twinkle's Enchantment is about Twinkle entering a gulch in order to get some berries. She meets many curious proverb-based creatures, such a Rolling Stone That Gathers No Moss, a Little Learning (which she avoids because it is a dangerous thing), a Weasel that Goes "Pop!", and the Birds of One Feather. She then spends time with a dancing bear, and is invited to a grasshopper's ball. She wakes up.
Sugar-Loaf Mountain is about how Twinkle and her friend Chubbins discover a trap door in Sugar-Loaf Mountain. They find a key and enter inside the mountain, where they find a city peopled by beings made entirely out of sugar of one form or another. They are captured by soldiers and taken to the king, who shows them the sights and introduces them to several high-grade citizens. While leaving, Twinkle and Chubbins accidentally drop the key inside, so no one can ever enter Sugar-Loaf Mountain again.
Output: What are the people made of in Sugar-Loaf mountain?
Mr. Woodchuck is about the time Twinkle's father sets a trap for a woodchuck that lives near his property. Twinkle goes to see the woodchuck get caught, and has a dream in which she meets the woodchuck and his family. The woodchucks put her on trial for being a human, because humans set cruel traps for the purposes of killing woodchucks. Twinkle is sentenced to be put in a trap herself, and when she wakes up from the dream, she convinces her father never to set traps for animals ever again.
Bandit Jim Crow is about a baby crow with a broken wing that Twinkle adopts for a pet. The crow has an evil nature, and as soon as his wing is healed, he kills the family's chickens and escapes to a section of the forest inhabited by birds. There, Jim Crow starts stealing and eating other birds' eggs, until the birds get Policeman Bluejay to keep Jim Crow in check. Jim then disguises himself with chalk, and continues stealing eggs. All the birds attack the disguised Jim Crow, and blind him. Jim Crow is forced to spend the rest of his life helpless, living off of the kindness of the other birds.
Prairie-Dog Town is about how Twinkle and her friend Chubbins go to have a picnic near a prairie dog village. The prairie dogs talk to the children, and the children are magically shrunk down to prairie-dog size so they can enter the village. Inside, they meet a well-to-do family and the mayor of the prairie dog village. The two children are returned to their normal size, and wonder if the whole adventure was simply a dream. (Compare a similar story, "The Discontented Gopher," in Baum's Animal Fairy Tales.)
Prince Mud-Turtle is about Twinkle finding an unusually-colored turtle and bringing it home with her. She later finds that the turtle is a fairy prince named Melga who was put under a curse by the evil Corrugated Giant, a creature with no bones. With the help of the turtle, Twinkle is able to travel to the giant's castle and restore the prince to his normal form. The prince then defeats the giant, and Twinkle is sent back home.
Twinkle's Enchantment is about Twinkle entering a gulch in order to get some berries. She meets many curious proverb-based creatures, such a Rolling Stone That Gathers No Moss, a Little Learning (which she avoids because it is a dangerous thing), a Weasel that Goes "Pop!", and the Birds of One Feather. She then spends time with a dancing bear, and is invited to a grasshopper's ball. She wakes up.
Sugar-Loaf Mountain is about how Twinkle and her friend Chubbins discover a trap door in Sugar-Loaf Mountain. They find a key and enter inside the mountain, where they find a city peopled by beings made entirely out of sugar of one form or another. They are captured by soldiers and taken to the king, who shows them the sights and introduces them to several high-grade citizens. While leaving, Twinkle and Chubbins accidentally drop the key inside, so no one can ever enter Sugar-Loaf Mountain again.
Output: Why does Twinkle adopt Jim Crow as a pet?
Mr. Woodchuck is about the time Twinkle's father sets a trap for a woodchuck that lives near his property. Twinkle goes to see the woodchuck get caught, and has a dream in which she meets the woodchuck and his family. The woodchucks put her on trial for being a human, because humans set cruel traps for the purposes of killing woodchucks. Twinkle is sentenced to be put in a trap herself, and when she wakes up from the dream, she convinces her father never to set traps for animals ever again.
Bandit Jim Crow is about a baby crow with a broken wing that Twinkle adopts for a pet. The crow has an evil nature, and as soon as his wing is healed, he kills the family's chickens and escapes to a section of the forest inhabited by birds. There, Jim Crow starts stealing and eating other birds' eggs, until the birds get Policeman Bluejay to keep Jim Crow in check. Jim then disguises himself with chalk, and continues stealing eggs. All the birds attack the disguised Jim Crow, and blind him. Jim Crow is forced to spend the rest of his life helpless, living off of the kindness of the other birds.
Prairie-Dog Town is about how Twinkle and her friend Chubbins go to have a picnic near a prairie dog village. The prairie dogs talk to the children, and the children are magically shrunk down to prairie-dog size so they can enter the village. Inside, they meet a well-to-do family and the mayor of the prairie dog village. The two children are returned to their normal size, and wonder if the whole adventure was simply a dream. (Compare a similar story, "The Discontented Gopher," in Baum's Animal Fairy Tales.)
Prince Mud-Turtle is about Twinkle finding an unusually-colored turtle and bringing it home with her. She later finds that the turtle is a fairy prince named Melga who was put under a curse by the evil Corrugated Giant, a creature with no bones. With the help of the turtle, Twinkle is able to travel to the giant's castle and restore the prince to his normal form. The prince then defeats the giant, and Twinkle is sent back home.
Twinkle's Enchantment is about Twinkle entering a gulch in order to get some berries. She meets many curious proverb-based creatures, such a Rolling Stone That Gathers No Moss, a Little Learning (which she avoids because it is a dangerous thing), a Weasel that Goes "Pop!", and the Birds of One Feather. She then spends time with a dancing bear, and is invited to a grasshopper's ball. She wakes up.
Sugar-Loaf Mountain is about how Twinkle and her friend Chubbins discover a trap door in Sugar-Loaf Mountain. They find a key and enter inside the mountain, where they find a city peopled by beings made entirely out of sugar of one form or another. They are captured by soldiers and taken to the king, who shows them the sights and introduces them to several high-grade citizens. While leaving, Twinkle and Chubbins accidentally drop the key inside, so no one can ever enter Sugar-Loaf Mountain again.
Output: In her dream, what was Twinkle's sentence?
Mr. Woodchuck is about the time Twinkle's father sets a trap for a woodchuck that lives near his property. Twinkle goes to see the woodchuck get caught, and has a dream in which she meets the woodchuck and his family. The woodchucks put her on trial for being a human, because humans set cruel traps for the purposes of killing woodchucks. Twinkle is sentenced to be put in a trap herself, and when she wakes up from the dream, she convinces her father never to set traps for animals ever again.
Bandit Jim Crow is about a baby crow with a broken wing that Twinkle adopts for a pet. The crow has an evil nature, and as soon as his wing is healed, he kills the family's chickens and escapes to a section of the forest inhabited by birds. There, Jim Crow starts stealing and eating other birds' eggs, until the birds get Policeman Bluejay to keep Jim Crow in check. Jim then disguises himself with chalk, and continues stealing eggs. All the birds attack the disguised Jim Crow, and blind him. Jim Crow is forced to spend the rest of his life helpless, living off of the kindness of the other birds.
Prairie-Dog Town is about how Twinkle and her friend Chubbins go to have a picnic near a prairie dog village. The prairie dogs talk to the children, and the children are magically shrunk down to prairie-dog size so they can enter the village. Inside, they meet a well-to-do family and the mayor of the prairie dog village. The two children are returned to their normal size, and wonder if the whole adventure was simply a dream. (Compare a similar story, "The Discontented Gopher," in Baum's Animal Fairy Tales.)
Prince Mud-Turtle is about Twinkle finding an unusually-colored turtle and bringing it home with her. She later finds that the turtle is a fairy prince named Melga who was put under a curse by the evil Corrugated Giant, a creature with no bones. With the help of the turtle, Twinkle is able to travel to the giant's castle and restore the prince to his normal form. The prince then defeats the giant, and Twinkle is sent back home.
Twinkle's Enchantment is about Twinkle entering a gulch in order to get some berries. She meets many curious proverb-based creatures, such a Rolling Stone That Gathers No Moss, a Little Learning (which she avoids because it is a dangerous thing), a Weasel that Goes "Pop!", and the Birds of One Feather. She then spends time with a dancing bear, and is invited to a grasshopper's ball. She wakes up.
Sugar-Loaf Mountain is about how Twinkle and her friend Chubbins discover a trap door in Sugar-Loaf Mountain. They find a key and enter inside the mountain, where they find a city peopled by beings made entirely out of sugar of one form or another. They are captured by soldiers and taken to the king, who shows them the sights and introduces them to several high-grade citizens. While leaving, Twinkle and Chubbins accidentally drop the key inside, so no one can ever enter Sugar-Loaf Mountain again.
Output: Who does Twinkle meet in Prairie Dog Town?
Mr. Woodchuck is about the time Twinkle's father sets a trap for a woodchuck that lives near his property. Twinkle goes to see the woodchuck get caught, and has a dream in which she meets the woodchuck and his family. The woodchucks put her on trial for being a human, because humans set cruel traps for the purposes of killing woodchucks. Twinkle is sentenced to be put in a trap herself, and when she wakes up from the dream, she convinces her father never to set traps for animals ever again.
Bandit Jim Crow is about a baby crow with a broken wing that Twinkle adopts for a pet. The crow has an evil nature, and as soon as his wing is healed, he kills the family's chickens and escapes to a section of the forest inhabited by birds. There, Jim Crow starts stealing and eating other birds' eggs, until the birds get Policeman Bluejay to keep Jim Crow in check. Jim then disguises himself with chalk, and continues stealing eggs. All the birds attack the disguised Jim Crow, and blind him. Jim Crow is forced to spend the rest of his life helpless, living off of the kindness of the other birds.
Prairie-Dog Town is about how Twinkle and her friend Chubbins go to have a picnic near a prairie dog village. The prairie dogs talk to the children, and the children are magically shrunk down to prairie-dog size so they can enter the village. Inside, they meet a well-to-do family and the mayor of the prairie dog village. The two children are returned to their normal size, and wonder if the whole adventure was simply a dream. (Compare a similar story, "The Discontented Gopher," in Baum's Animal Fairy Tales.)
Prince Mud-Turtle is about Twinkle finding an unusually-colored turtle and bringing it home with her. She later finds that the turtle is a fairy prince named Melga who was put under a curse by the evil Corrugated Giant, a creature with no bones. With the help of the turtle, Twinkle is able to travel to the giant's castle and restore the prince to his normal form. The prince then defeats the giant, and Twinkle is sent back home.
Twinkle's Enchantment is about Twinkle entering a gulch in order to get some berries. She meets many curious proverb-based creatures, such a Rolling Stone That Gathers No Moss, a Little Learning (which she avoids because it is a dangerous thing), a Weasel that Goes "Pop!", and the Birds of One Feather. She then spends time with a dancing bear, and is invited to a grasshopper's ball. She wakes up.
Sugar-Loaf Mountain is about how Twinkle and her friend Chubbins discover a trap door in Sugar-Loaf Mountain. They find a key and enter inside the mountain, where they find a city peopled by beings made entirely out of sugar of one form or another. They are captured by soldiers and taken to the king, who shows them the sights and introduces them to several high-grade citizens. While leaving, Twinkle and Chubbins accidentally drop the key inside, so no one can ever enter Sugar-Loaf Mountain again.
Output: What does Twinkle convince her father to do after she wakes up?
Mr. Woodchuck is about the time Twinkle's father sets a trap for a woodchuck that lives near his property. Twinkle goes to see the woodchuck get caught, and has a dream in which she meets the woodchuck and his family. The woodchucks put her on trial for being a human, because humans set cruel traps for the purposes of killing woodchucks. Twinkle is sentenced to be put in a trap herself, and when she wakes up from the dream, she convinces her father never to set traps for animals ever again.
Bandit Jim Crow is about a baby crow with a broken wing that Twinkle adopts for a pet. The crow has an evil nature, and as soon as his wing is healed, he kills the family's chickens and escapes to a section of the forest inhabited by birds. There, Jim Crow starts stealing and eating other birds' eggs, until the birds get Policeman Bluejay to keep Jim Crow in check. Jim then disguises himself with chalk, and continues stealing eggs. All the birds attack the disguised Jim Crow, and blind him. Jim Crow is forced to spend the rest of his life helpless, living off of the kindness of the other birds.
Prairie-Dog Town is about how Twinkle and her friend Chubbins go to have a picnic near a prairie dog village. The prairie dogs talk to the children, and the children are magically shrunk down to prairie-dog size so they can enter the village. Inside, they meet a well-to-do family and the mayor of the prairie dog village. The two children are returned to their normal size, and wonder if the whole adventure was simply a dream. (Compare a similar story, "The Discontented Gopher," in Baum's Animal Fairy Tales.)
Prince Mud-Turtle is about Twinkle finding an unusually-colored turtle and bringing it home with her. She later finds that the turtle is a fairy prince named Melga who was put under a curse by the evil Corrugated Giant, a creature with no bones. With the help of the turtle, Twinkle is able to travel to the giant's castle and restore the prince to his normal form. The prince then defeats the giant, and Twinkle is sent back home.
Twinkle's Enchantment is about Twinkle entering a gulch in order to get some berries. She meets many curious proverb-based creatures, such a Rolling Stone That Gathers No Moss, a Little Learning (which she avoids because it is a dangerous thing), a Weasel that Goes "Pop!", and the Birds of One Feather. She then spends time with a dancing bear, and is invited to a grasshopper's ball. She wakes up.
Sugar-Loaf Mountain is about how Twinkle and her friend Chubbins discover a trap door in Sugar-Loaf Mountain. They find a key and enter inside the mountain, where they find a city peopled by beings made entirely out of sugar of one form or another. They are captured by soldiers and taken to the king, who shows them the sights and introduces them to several high-grade citizens. While leaving, Twinkle and Chubbins accidentally drop the key inside, so no one can ever enter Sugar-Loaf Mountain again.
Output: What's wrong with Bandit Jim Crow?