niryuu/sni-each-converted huggingface dataset:
The dramatists chose to portray only the beginning of the story of Caesar and Cleopatra in their play; they concentrate on the events of 48 BC. The play is set in Egypt; at its start, the Pharaoh Ptolemy XIII has sequestered his sister/wife/queen Cleopatra and has assumed sole rule of the kingdom, and the Battle of Pharsalia has not yet occurred. By the play's end, Caesar has deposed Ptolemy and placed Cleopatra in sole possession of the Egyptian crown. The play's Prologue specifically states that the work shows a virginal "Young Cleopatra...and her great Mind / Express'd to the height...." Some of the famous aspects of the story are reproduced in the play: Cleopatra has herself delivered to Caesar in Act III, though enclosed in a "packet" rather than rolled up in a rug.
The playwrights chose to concentrate much of their attention on the figure of Lucius Septimius, the Roman officer who betrayed, murdered, and decapitated Pompey the Great when Pompey landed in Egypt after his Pharsalia defeat (events depicted in Act II). Septimius is the "false one" of the title, and his prominence comes close to turning the work into a "villain play." Yet Septimius is portrayed as lacking any redeeming or sympathetic quality, making him a weak prop on which to mount a drama. The authors' choice in this matter may have been dictated by their desire to comment on contemporaneous political events; in this interpretation, the Pompey of the play represents Sir Walter Raleigh, executed in 1618, while the loathsome reprobate Septimius stands for Raleigh's primary accuser, Sir Lewis Stukeley.
Critics have seen the influence of Shakespeare's Antony and Cleopatra in The False One, and have suggested that the portrayal of Septimius was partially modelled on Shakespeare's Enobarbus. The False One is heavily dominated by political material, rather than dramatic realisations of its characters; for some critics, the split in the play's focus among Cleopatra, Caesar, and Septimius prevents the play from cohering into an effective dramatic whole.
Output: Who was Lucius?
The dramatists chose to portray only the beginning of the story of Caesar and Cleopatra in their play; they concentrate on the events of 48 BC. The play is set in Egypt; at its start, the Pharaoh Ptolemy XIII has sequestered his sister/wife/queen Cleopatra and has assumed sole rule of the kingdom, and the Battle of Pharsalia has not yet occurred. By the play's end, Caesar has deposed Ptolemy and placed Cleopatra in sole possession of the Egyptian crown. The play's Prologue specifically states that the work shows a virginal "Young Cleopatra...and her great Mind / Express'd to the height...." Some of the famous aspects of the story are reproduced in the play: Cleopatra has herself delivered to Caesar in Act III, though enclosed in a "packet" rather than rolled up in a rug.
The playwrights chose to concentrate much of their attention on the figure of Lucius Septimius, the Roman officer who betrayed, murdered, and decapitated Pompey the Great when Pompey landed in Egypt after his Pharsalia defeat (events depicted in Act II). Septimius is the "false one" of the title, and his prominence comes close to turning the work into a "villain play." Yet Septimius is portrayed as lacking any redeeming or sympathetic quality, making him a weak prop on which to mount a drama. The authors' choice in this matter may have been dictated by their desire to comment on contemporaneous political events; in this interpretation, the Pompey of the play represents Sir Walter Raleigh, executed in 1618, while the loathsome reprobate Septimius stands for Raleigh's primary accuser, Sir Lewis Stukeley.
Critics have seen the influence of Shakespeare's Antony and Cleopatra in The False One, and have suggested that the portrayal of Septimius was partially modelled on Shakespeare's Enobarbus. The False One is heavily dominated by political material, rather than dramatic realisations of its characters; for some critics, the split in the play's focus among Cleopatra, Caesar, and Septimius prevents the play from cohering into an effective dramatic whole.
Output: Who rules Egypt during this time?
The dramatists chose to portray only the beginning of the story of Caesar and Cleopatra in their play; they concentrate on the events of 48 BC. The play is set in Egypt; at its start, the Pharaoh Ptolemy XIII has sequestered his sister/wife/queen Cleopatra and has assumed sole rule of the kingdom, and the Battle of Pharsalia has not yet occurred. By the play's end, Caesar has deposed Ptolemy and placed Cleopatra in sole possession of the Egyptian crown. The play's Prologue specifically states that the work shows a virginal "Young Cleopatra...and her great Mind / Express'd to the height...." Some of the famous aspects of the story are reproduced in the play: Cleopatra has herself delivered to Caesar in Act III, though enclosed in a "packet" rather than rolled up in a rug.
The playwrights chose to concentrate much of their attention on the figure of Lucius Septimius, the Roman officer who betrayed, murdered, and decapitated Pompey the Great when Pompey landed in Egypt after his Pharsalia defeat (events depicted in Act II). Septimius is the "false one" of the title, and his prominence comes close to turning the work into a "villain play." Yet Septimius is portrayed as lacking any redeeming or sympathetic quality, making him a weak prop on which to mount a drama. The authors' choice in this matter may have been dictated by their desire to comment on contemporaneous political events; in this interpretation, the Pompey of the play represents Sir Walter Raleigh, executed in 1618, while the loathsome reprobate Septimius stands for Raleigh's primary accuser, Sir Lewis Stukeley.
Critics have seen the influence of Shakespeare's Antony and Cleopatra in The False One, and have suggested that the portrayal of Septimius was partially modelled on Shakespeare's Enobarbus. The False One is heavily dominated by political material, rather than dramatic realisations of its characters; for some critics, the split in the play's focus among Cleopatra, Caesar, and Septimius prevents the play from cohering into an effective dramatic whole.
Output: What other play was influenced by Shakespeare's Antony Amber Cleopatra?
The dramatists chose to portray only the beginning of the story of Caesar and Cleopatra in their play; they concentrate on the events of 48 BC. The play is set in Egypt; at its start, the Pharaoh Ptolemy XIII has sequestered his sister/wife/queen Cleopatra and has assumed sole rule of the kingdom, and the Battle of Pharsalia has not yet occurred. By the play's end, Caesar has deposed Ptolemy and placed Cleopatra in sole possession of the Egyptian crown. The play's Prologue specifically states that the work shows a virginal "Young Cleopatra...and her great Mind / Express'd to the height...." Some of the famous aspects of the story are reproduced in the play: Cleopatra has herself delivered to Caesar in Act III, though enclosed in a "packet" rather than rolled up in a rug.
The playwrights chose to concentrate much of their attention on the figure of Lucius Septimius, the Roman officer who betrayed, murdered, and decapitated Pompey the Great when Pompey landed in Egypt after his Pharsalia defeat (events depicted in Act II). Septimius is the "false one" of the title, and his prominence comes close to turning the work into a "villain play." Yet Septimius is portrayed as lacking any redeeming or sympathetic quality, making him a weak prop on which to mount a drama. The authors' choice in this matter may have been dictated by their desire to comment on contemporaneous political events; in this interpretation, the Pompey of the play represents Sir Walter Raleigh, executed in 1618, while the loathsome reprobate Septimius stands for Raleigh's primary accuser, Sir Lewis Stukeley.
Critics have seen the influence of Shakespeare's Antony and Cleopatra in The False One, and have suggested that the portrayal of Septimius was partially modelled on Shakespeare's Enobarbus. The False One is heavily dominated by political material, rather than dramatic realisations of its characters; for some critics, the split in the play's focus among Cleopatra, Caesar, and Septimius prevents the play from cohering into an effective dramatic whole.
Output: Who was the Roman officer that betrayed Pompey the Great?
The dramatists chose to portray only the beginning of the story of Caesar and Cleopatra in their play; they concentrate on the events of 48 BC. The play is set in Egypt; at its start, the Pharaoh Ptolemy XIII has sequestered his sister/wife/queen Cleopatra and has assumed sole rule of the kingdom, and the Battle of Pharsalia has not yet occurred. By the play's end, Caesar has deposed Ptolemy and placed Cleopatra in sole possession of the Egyptian crown. The play's Prologue specifically states that the work shows a virginal "Young Cleopatra...and her great Mind / Express'd to the height...." Some of the famous aspects of the story are reproduced in the play: Cleopatra has herself delivered to Caesar in Act III, though enclosed in a "packet" rather than rolled up in a rug.
The playwrights chose to concentrate much of their attention on the figure of Lucius Septimius, the Roman officer who betrayed, murdered, and decapitated Pompey the Great when Pompey landed in Egypt after his Pharsalia defeat (events depicted in Act II). Septimius is the "false one" of the title, and his prominence comes close to turning the work into a "villain play." Yet Septimius is portrayed as lacking any redeeming or sympathetic quality, making him a weak prop on which to mount a drama. The authors' choice in this matter may have been dictated by their desire to comment on contemporaneous political events; in this interpretation, the Pompey of the play represents Sir Walter Raleigh, executed in 1618, while the loathsome reprobate Septimius stands for Raleigh's primary accuser, Sir Lewis Stukeley.
Critics have seen the influence of Shakespeare's Antony and Cleopatra in The False One, and have suggested that the portrayal of Septimius was partially modelled on Shakespeare's Enobarbus. The False One is heavily dominated by political material, rather than dramatic realisations of its characters; for some critics, the split in the play's focus among Cleopatra, Caesar, and Septimius prevents the play from cohering into an effective dramatic whole.
Output: How does Cleopatra deliver herself to Caesar?
The dramatists chose to portray only the beginning of the story of Caesar and Cleopatra in their play; they concentrate on the events of 48 BC. The play is set in Egypt; at its start, the Pharaoh Ptolemy XIII has sequestered his sister/wife/queen Cleopatra and has assumed sole rule of the kingdom, and the Battle of Pharsalia has not yet occurred. By the play's end, Caesar has deposed Ptolemy and placed Cleopatra in sole possession of the Egyptian crown. The play's Prologue specifically states that the work shows a virginal "Young Cleopatra...and her great Mind / Express'd to the height...." Some of the famous aspects of the story are reproduced in the play: Cleopatra has herself delivered to Caesar in Act III, though enclosed in a "packet" rather than rolled up in a rug.
The playwrights chose to concentrate much of their attention on the figure of Lucius Septimius, the Roman officer who betrayed, murdered, and decapitated Pompey the Great when Pompey landed in Egypt after his Pharsalia defeat (events depicted in Act II). Septimius is the "false one" of the title, and his prominence comes close to turning the work into a "villain play." Yet Septimius is portrayed as lacking any redeeming or sympathetic quality, making him a weak prop on which to mount a drama. The authors' choice in this matter may have been dictated by their desire to comment on contemporaneous political events; in this interpretation, the Pompey of the play represents Sir Walter Raleigh, executed in 1618, while the loathsome reprobate Septimius stands for Raleigh's primary accuser, Sir Lewis Stukeley.
Critics have seen the influence of Shakespeare's Antony and Cleopatra in The False One, and have suggested that the portrayal of Septimius was partially modelled on Shakespeare's Enobarbus. The False One is heavily dominated by political material, rather than dramatic realisations of its characters; for some critics, the split in the play's focus among Cleopatra, Caesar, and Septimius prevents the play from cohering into an effective dramatic whole.
Output: Who does Cleopatra have herself delivered to?
The dramatists chose to portray only the beginning of the story of Caesar and Cleopatra in their play; they concentrate on the events of 48 BC. The play is set in Egypt; at its start, the Pharaoh Ptolemy XIII has sequestered his sister/wife/queen Cleopatra and has assumed sole rule of the kingdom, and the Battle of Pharsalia has not yet occurred. By the play's end, Caesar has deposed Ptolemy and placed Cleopatra in sole possession of the Egyptian crown. The play's Prologue specifically states that the work shows a virginal "Young Cleopatra...and her great Mind / Express'd to the height...." Some of the famous aspects of the story are reproduced in the play: Cleopatra has herself delivered to Caesar in Act III, though enclosed in a "packet" rather than rolled up in a rug.
The playwrights chose to concentrate much of their attention on the figure of Lucius Septimius, the Roman officer who betrayed, murdered, and decapitated Pompey the Great when Pompey landed in Egypt after his Pharsalia defeat (events depicted in Act II). Septimius is the "false one" of the title, and his prominence comes close to turning the work into a "villain play." Yet Septimius is portrayed as lacking any redeeming or sympathetic quality, making him a weak prop on which to mount a drama. The authors' choice in this matter may have been dictated by their desire to comment on contemporaneous political events; in this interpretation, the Pompey of the play represents Sir Walter Raleigh, executed in 1618, while the loathsome reprobate Septimius stands for Raleigh's primary accuser, Sir Lewis Stukeley.
Critics have seen the influence of Shakespeare's Antony and Cleopatra in The False One, and have suggested that the portrayal of Septimius was partially modelled on Shakespeare's Enobarbus. The False One is heavily dominated by political material, rather than dramatic realisations of its characters; for some critics, the split in the play's focus among Cleopatra, Caesar, and Septimius prevents the play from cohering into an effective dramatic whole.
Output: What Shakespeare work most influenced The False One?
The dramatists chose to portray only the beginning of the story of Caesar and Cleopatra in their play; they concentrate on the events of 48 BC. The play is set in Egypt; at its start, the Pharaoh Ptolemy XIII has sequestered his sister/wife/queen Cleopatra and has assumed sole rule of the kingdom, and the Battle of Pharsalia has not yet occurred. By the play's end, Caesar has deposed Ptolemy and placed Cleopatra in sole possession of the Egyptian crown. The play's Prologue specifically states that the work shows a virginal "Young Cleopatra...and her great Mind / Express'd to the height...." Some of the famous aspects of the story are reproduced in the play: Cleopatra has herself delivered to Caesar in Act III, though enclosed in a "packet" rather than rolled up in a rug.
The playwrights chose to concentrate much of their attention on the figure of Lucius Septimius, the Roman officer who betrayed, murdered, and decapitated Pompey the Great when Pompey landed in Egypt after his Pharsalia defeat (events depicted in Act II). Septimius is the "false one" of the title, and his prominence comes close to turning the work into a "villain play." Yet Septimius is portrayed as lacking any redeeming or sympathetic quality, making him a weak prop on which to mount a drama. The authors' choice in this matter may have been dictated by their desire to comment on contemporaneous political events; in this interpretation, the Pompey of the play represents Sir Walter Raleigh, executed in 1618, while the loathsome reprobate Septimius stands for Raleigh's primary accuser, Sir Lewis Stukeley.
Critics have seen the influence of Shakespeare's Antony and Cleopatra in The False One, and have suggested that the portrayal of Septimius was partially modelled on Shakespeare's Enobarbus. The False One is heavily dominated by political material, rather than dramatic realisations of its characters; for some critics, the split in the play's focus among Cleopatra, Caesar, and Septimius prevents the play from cohering into an effective dramatic whole.
Output: At the beginning of the story, who was the ruler of the kingdom?
The dramatists chose to portray only the beginning of the story of Caesar and Cleopatra in their play; they concentrate on the events of 48 BC. The play is set in Egypt; at its start, the Pharaoh Ptolemy XIII has sequestered his sister/wife/queen Cleopatra and has assumed sole rule of the kingdom, and the Battle of Pharsalia has not yet occurred. By the play's end, Caesar has deposed Ptolemy and placed Cleopatra in sole possession of the Egyptian crown. The play's Prologue specifically states that the work shows a virginal "Young Cleopatra...and her great Mind / Express'd to the height...." Some of the famous aspects of the story are reproduced in the play: Cleopatra has herself delivered to Caesar in Act III, though enclosed in a "packet" rather than rolled up in a rug.
The playwrights chose to concentrate much of their attention on the figure of Lucius Septimius, the Roman officer who betrayed, murdered, and decapitated Pompey the Great when Pompey landed in Egypt after his Pharsalia defeat (events depicted in Act II). Septimius is the "false one" of the title, and his prominence comes close to turning the work into a "villain play." Yet Septimius is portrayed as lacking any redeeming or sympathetic quality, making him a weak prop on which to mount a drama. The authors' choice in this matter may have been dictated by their desire to comment on contemporaneous political events; in this interpretation, the Pompey of the play represents Sir Walter Raleigh, executed in 1618, while the loathsome reprobate Septimius stands for Raleigh's primary accuser, Sir Lewis Stukeley.
Critics have seen the influence of Shakespeare's Antony and Cleopatra in The False One, and have suggested that the portrayal of Septimius was partially modelled on Shakespeare's Enobarbus. The False One is heavily dominated by political material, rather than dramatic realisations of its characters; for some critics, the split in the play's focus among Cleopatra, Caesar, and Septimius prevents the play from cohering into an effective dramatic whole.
Output: Who has been suggested for the model for Septimius?
The dramatists chose to portray only the beginning of the story of Caesar and Cleopatra in their play; they concentrate on the events of 48 BC. The play is set in Egypt; at its start, the Pharaoh Ptolemy XIII has sequestered his sister/wife/queen Cleopatra and has assumed sole rule of the kingdom, and the Battle of Pharsalia has not yet occurred. By the play's end, Caesar has deposed Ptolemy and placed Cleopatra in sole possession of the Egyptian crown. The play's Prologue specifically states that the work shows a virginal "Young Cleopatra...and her great Mind / Express'd to the height...." Some of the famous aspects of the story are reproduced in the play: Cleopatra has herself delivered to Caesar in Act III, though enclosed in a "packet" rather than rolled up in a rug.
The playwrights chose to concentrate much of their attention on the figure of Lucius Septimius, the Roman officer who betrayed, murdered, and decapitated Pompey the Great when Pompey landed in Egypt after his Pharsalia defeat (events depicted in Act II). Septimius is the "false one" of the title, and his prominence comes close to turning the work into a "villain play." Yet Septimius is portrayed as lacking any redeeming or sympathetic quality, making him a weak prop on which to mount a drama. The authors' choice in this matter may have been dictated by their desire to comment on contemporaneous political events; in this interpretation, the Pompey of the play represents Sir Walter Raleigh, executed in 1618, while the loathsome reprobate Septimius stands for Raleigh's primary accuser, Sir Lewis Stukeley.
Critics have seen the influence of Shakespeare's Antony and Cleopatra in The False One, and have suggested that the portrayal of Septimius was partially modelled on Shakespeare's Enobarbus. The False One is heavily dominated by political material, rather than dramatic realisations of its characters; for some critics, the split in the play's focus among Cleopatra, Caesar, and Septimius prevents the play from cohering into an effective dramatic whole.
Output: What was Lucius responsible for?
The dramatists chose to portray only the beginning of the story of Caesar and Cleopatra in their play; they concentrate on the events of 48 BC. The play is set in Egypt; at its start, the Pharaoh Ptolemy XIII has sequestered his sister/wife/queen Cleopatra and has assumed sole rule of the kingdom, and the Battle of Pharsalia has not yet occurred. By the play's end, Caesar has deposed Ptolemy and placed Cleopatra in sole possession of the Egyptian crown. The play's Prologue specifically states that the work shows a virginal "Young Cleopatra...and her great Mind / Express'd to the height...." Some of the famous aspects of the story are reproduced in the play: Cleopatra has herself delivered to Caesar in Act III, though enclosed in a "packet" rather than rolled up in a rug.
The playwrights chose to concentrate much of their attention on the figure of Lucius Septimius, the Roman officer who betrayed, murdered, and decapitated Pompey the Great when Pompey landed in Egypt after his Pharsalia defeat (events depicted in Act II). Septimius is the "false one" of the title, and his prominence comes close to turning the work into a "villain play." Yet Septimius is portrayed as lacking any redeeming or sympathetic quality, making him a weak prop on which to mount a drama. The authors' choice in this matter may have been dictated by their desire to comment on contemporaneous political events; in this interpretation, the Pompey of the play represents Sir Walter Raleigh, executed in 1618, while the loathsome reprobate Septimius stands for Raleigh's primary accuser, Sir Lewis Stukeley.
Critics have seen the influence of Shakespeare's Antony and Cleopatra in The False One, and have suggested that the portrayal of Septimius was partially modelled on Shakespeare's Enobarbus. The False One is heavily dominated by political material, rather than dramatic realisations of its characters; for some critics, the split in the play's focus among Cleopatra, Caesar, and Septimius prevents the play from cohering into an effective dramatic whole.
Output: Who is in sole possession of the Egyptian crown after Ptolemy's death?
The dramatists chose to portray only the beginning of the story of Caesar and Cleopatra in their play; they concentrate on the events of 48 BC. The play is set in Egypt; at its start, the Pharaoh Ptolemy XIII has sequestered his sister/wife/queen Cleopatra and has assumed sole rule of the kingdom, and the Battle of Pharsalia has not yet occurred. By the play's end, Caesar has deposed Ptolemy and placed Cleopatra in sole possession of the Egyptian crown. The play's Prologue specifically states that the work shows a virginal "Young Cleopatra...and her great Mind / Express'd to the height...." Some of the famous aspects of the story are reproduced in the play: Cleopatra has herself delivered to Caesar in Act III, though enclosed in a "packet" rather than rolled up in a rug.
The playwrights chose to concentrate much of their attention on the figure of Lucius Septimius, the Roman officer who betrayed, murdered, and decapitated Pompey the Great when Pompey landed in Egypt after his Pharsalia defeat (events depicted in Act II). Septimius is the "false one" of the title, and his prominence comes close to turning the work into a "villain play." Yet Septimius is portrayed as lacking any redeeming or sympathetic quality, making him a weak prop on which to mount a drama. The authors' choice in this matter may have been dictated by their desire to comment on contemporaneous political events; in this interpretation, the Pompey of the play represents Sir Walter Raleigh, executed in 1618, while the loathsome reprobate Septimius stands for Raleigh's primary accuser, Sir Lewis Stukeley.
Critics have seen the influence of Shakespeare's Antony and Cleopatra in The False One, and have suggested that the portrayal of Septimius was partially modelled on Shakespeare's Enobarbus. The False One is heavily dominated by political material, rather than dramatic realisations of its characters; for some critics, the split in the play's focus among Cleopatra, Caesar, and Septimius prevents the play from cohering into an effective dramatic whole.
Output: Who deposed of Ptolemy?
The dramatists chose to portray only the beginning of the story of Caesar and Cleopatra in their play; they concentrate on the events of 48 BC. The play is set in Egypt; at its start, the Pharaoh Ptolemy XIII has sequestered his sister/wife/queen Cleopatra and has assumed sole rule of the kingdom, and the Battle of Pharsalia has not yet occurred. By the play's end, Caesar has deposed Ptolemy and placed Cleopatra in sole possession of the Egyptian crown. The play's Prologue specifically states that the work shows a virginal "Young Cleopatra...and her great Mind / Express'd to the height...." Some of the famous aspects of the story are reproduced in the play: Cleopatra has herself delivered to Caesar in Act III, though enclosed in a "packet" rather than rolled up in a rug.
The playwrights chose to concentrate much of their attention on the figure of Lucius Septimius, the Roman officer who betrayed, murdered, and decapitated Pompey the Great when Pompey landed in Egypt after his Pharsalia defeat (events depicted in Act II). Septimius is the "false one" of the title, and his prominence comes close to turning the work into a "villain play." Yet Septimius is portrayed as lacking any redeeming or sympathetic quality, making him a weak prop on which to mount a drama. The authors' choice in this matter may have been dictated by their desire to comment on contemporaneous political events; in this interpretation, the Pompey of the play represents Sir Walter Raleigh, executed in 1618, while the loathsome reprobate Septimius stands for Raleigh's primary accuser, Sir Lewis Stukeley.
Critics have seen the influence of Shakespeare's Antony and Cleopatra in The False One, and have suggested that the portrayal of Septimius was partially modelled on Shakespeare's Enobarbus. The False One is heavily dominated by political material, rather than dramatic realisations of its characters; for some critics, the split in the play's focus among Cleopatra, Caesar, and Septimius prevents the play from cohering into an effective dramatic whole.
Output: The False One is dominated by what kind of material?
The dramatists chose to portray only the beginning of the story of Caesar and Cleopatra in their play; they concentrate on the events of 48 BC. The play is set in Egypt; at its start, the Pharaoh Ptolemy XIII has sequestered his sister/wife/queen Cleopatra and has assumed sole rule of the kingdom, and the Battle of Pharsalia has not yet occurred. By the play's end, Caesar has deposed Ptolemy and placed Cleopatra in sole possession of the Egyptian crown. The play's Prologue specifically states that the work shows a virginal "Young Cleopatra...and her great Mind / Express'd to the height...." Some of the famous aspects of the story are reproduced in the play: Cleopatra has herself delivered to Caesar in Act III, though enclosed in a "packet" rather than rolled up in a rug.
The playwrights chose to concentrate much of their attention on the figure of Lucius Septimius, the Roman officer who betrayed, murdered, and decapitated Pompey the Great when Pompey landed in Egypt after his Pharsalia defeat (events depicted in Act II). Septimius is the "false one" of the title, and his prominence comes close to turning the work into a "villain play." Yet Septimius is portrayed as lacking any redeeming or sympathetic quality, making him a weak prop on which to mount a drama. The authors' choice in this matter may have been dictated by their desire to comment on contemporaneous political events; in this interpretation, the Pompey of the play represents Sir Walter Raleigh, executed in 1618, while the loathsome reprobate Septimius stands for Raleigh's primary accuser, Sir Lewis Stukeley.
Critics have seen the influence of Shakespeare's Antony and Cleopatra in The False One, and have suggested that the portrayal of Septimius was partially modelled on Shakespeare's Enobarbus. The False One is heavily dominated by political material, rather than dramatic realisations of its characters; for some critics, the split in the play's focus among Cleopatra, Caesar, and Septimius prevents the play from cohering into an effective dramatic whole.
Output: Who did Pharoah Ptolemy XIII sequester?
The dramatists chose to portray only the beginning of the story of Caesar and Cleopatra in their play; they concentrate on the events of 48 BC. The play is set in Egypt; at its start, the Pharaoh Ptolemy XIII has sequestered his sister/wife/queen Cleopatra and has assumed sole rule of the kingdom, and the Battle of Pharsalia has not yet occurred. By the play's end, Caesar has deposed Ptolemy and placed Cleopatra in sole possession of the Egyptian crown. The play's Prologue specifically states that the work shows a virginal "Young Cleopatra...and her great Mind / Express'd to the height...." Some of the famous aspects of the story are reproduced in the play: Cleopatra has herself delivered to Caesar in Act III, though enclosed in a "packet" rather than rolled up in a rug.
The playwrights chose to concentrate much of their attention on the figure of Lucius Septimius, the Roman officer who betrayed, murdered, and decapitated Pompey the Great when Pompey landed in Egypt after his Pharsalia defeat (events depicted in Act II). Septimius is the "false one" of the title, and his prominence comes close to turning the work into a "villain play." Yet Septimius is portrayed as lacking any redeeming or sympathetic quality, making him a weak prop on which to mount a drama. The authors' choice in this matter may have been dictated by their desire to comment on contemporaneous political events; in this interpretation, the Pompey of the play represents Sir Walter Raleigh, executed in 1618, while the loathsome reprobate Septimius stands for Raleigh's primary accuser, Sir Lewis Stukeley.
Critics have seen the influence of Shakespeare's Antony and Cleopatra in The False One, and have suggested that the portrayal of Septimius was partially modelled on Shakespeare's Enobarbus. The False One is heavily dominated by political material, rather than dramatic realisations of its characters; for some critics, the split in the play's focus among Cleopatra, Caesar, and Septimius prevents the play from cohering into an effective dramatic whole.
Output: What is the setting?
The dramatists chose to portray only the beginning of the story of Caesar and Cleopatra in their play; they concentrate on the events of 48 BC. The play is set in Egypt; at its start, the Pharaoh Ptolemy XIII has sequestered his sister/wife/queen Cleopatra and has assumed sole rule of the kingdom, and the Battle of Pharsalia has not yet occurred. By the play's end, Caesar has deposed Ptolemy and placed Cleopatra in sole possession of the Egyptian crown. The play's Prologue specifically states that the work shows a virginal "Young Cleopatra...and her great Mind / Express'd to the height...." Some of the famous aspects of the story are reproduced in the play: Cleopatra has herself delivered to Caesar in Act III, though enclosed in a "packet" rather than rolled up in a rug.
The playwrights chose to concentrate much of their attention on the figure of Lucius Septimius, the Roman officer who betrayed, murdered, and decapitated Pompey the Great when Pompey landed in Egypt after his Pharsalia defeat (events depicted in Act II). Septimius is the "false one" of the title, and his prominence comes close to turning the work into a "villain play." Yet Septimius is portrayed as lacking any redeeming or sympathetic quality, making him a weak prop on which to mount a drama. The authors' choice in this matter may have been dictated by their desire to comment on contemporaneous political events; in this interpretation, the Pompey of the play represents Sir Walter Raleigh, executed in 1618, while the loathsome reprobate Septimius stands for Raleigh's primary accuser, Sir Lewis Stukeley.
Critics have seen the influence of Shakespeare's Antony and Cleopatra in The False One, and have suggested that the portrayal of Septimius was partially modelled on Shakespeare's Enobarbus. The False One is heavily dominated by political material, rather than dramatic realisations of its characters; for some critics, the split in the play's focus among Cleopatra, Caesar, and Septimius prevents the play from cohering into an effective dramatic whole.
Output: Who does Septimius represent?
The protagonist is a boy named Rob Joslyn. His age is not specified. Baum dedicated the book "To My Son, Robert Stanton Baum," who was born in 1886 and would thus have been about fifteen at the time it was published.
Rob is an electrical experimenter whose father encourages him and sees that he "never lacked batteries, motors or supplies of any sort." A "net-work[sic] of wires soon ran throughout the house". He loses track of the elaborately interconnected wires, and trying to get a cardboard house to light up, he "experimented in a rather haphazard fashion, connecting this and that wire blindly and by guesswork, in the hope that he would strike the right combination." There is a bright flash, and a being who calls himself the Demon of Electricity appears. He tells Rob that he has accidentally "touched the Master Key of Electricity" and is entitled "to demand from me three gifts each week for three successive weeks." Rob protests that he does not know what to ask for, and the Demon agrees to select the gifts himself.
During the first week, the Demon gives Rob three gifts:
a silver box of food tablets, each one of which provides sufficient nourishment for a whole day
a "small tube" which can direct "an electric current" at a foe, rendering him unconscious for the period of one hour
a wristwatch-sized transportation device, which allows the wearer to fly at any height and travel at high speeds in any direction, when it is working properly. It is, however, somewhat fragile and becomes damaged and unreliable during Rob's adventures, creating predicaments for him.
During the second week, the Demon gives Rob three additional gifts:
a "garment of protection," which renders him invulnerable to bullets, swords, or other physical attack
a "record of events," which provides remote views of important events taking place in any part of the world at any time within the last twenty-four hours
A "character marker," a set of spectacles: "while you wear them every one you meet will be marked upon the forehead with a letter indicating his or her character. The good will bear the letter 'G,' the evil the letter 'E.' The wise will be marked with a 'W' and the foolish with an 'F.' The kind will show a 'K' upon their foreheads and the cruel a letter 'C.'"
Over the next two weeks, Rob experiences adventures exploring the use of the Demon's gifts, but eventually concludes that neither he nor the world is ready for them. On the third week, Rob rejects the Demon's gifts and tells him to bide his time until humankind knows how to use them. The Demon leaves. With a light heart, Rob concludes that he made the right decision.
Like some of Baum's adult novels, The Master Key features encounters with real historical figures of the period, such as King Edward of Britain, President Loubet of France, and the Duke of Orl ans.
Output: What does the demon do after being rejected?
The protagonist is a boy named Rob Joslyn. His age is not specified. Baum dedicated the book "To My Son, Robert Stanton Baum," who was born in 1886 and would thus have been about fifteen at the time it was published.
Rob is an electrical experimenter whose father encourages him and sees that he "never lacked batteries, motors or supplies of any sort." A "net-work[sic] of wires soon ran throughout the house". He loses track of the elaborately interconnected wires, and trying to get a cardboard house to light up, he "experimented in a rather haphazard fashion, connecting this and that wire blindly and by guesswork, in the hope that he would strike the right combination." There is a bright flash, and a being who calls himself the Demon of Electricity appears. He tells Rob that he has accidentally "touched the Master Key of Electricity" and is entitled "to demand from me three gifts each week for three successive weeks." Rob protests that he does not know what to ask for, and the Demon agrees to select the gifts himself.
During the first week, the Demon gives Rob three gifts:
a silver box of food tablets, each one of which provides sufficient nourishment for a whole day
a "small tube" which can direct "an electric current" at a foe, rendering him unconscious for the period of one hour
a wristwatch-sized transportation device, which allows the wearer to fly at any height and travel at high speeds in any direction, when it is working properly. It is, however, somewhat fragile and becomes damaged and unreliable during Rob's adventures, creating predicaments for him.
During the second week, the Demon gives Rob three additional gifts:
a "garment of protection," which renders him invulnerable to bullets, swords, or other physical attack
a "record of events," which provides remote views of important events taking place in any part of the world at any time within the last twenty-four hours
A "character marker," a set of spectacles: "while you wear them every one you meet will be marked upon the forehead with a letter indicating his or her character. The good will bear the letter 'G,' the evil the letter 'E.' The wise will be marked with a 'W' and the foolish with an 'F.' The kind will show a 'K' upon their foreheads and the cruel a letter 'C.'"
Over the next two weeks, Rob experiences adventures exploring the use of the Demon's gifts, but eventually concludes that neither he nor the world is ready for them. On the third week, Rob rejects the Demon's gifts and tells him to bide his time until humankind knows how to use them. The Demon leaves. With a light heart, Rob concludes that he made the right decision.
Like some of Baum's adult novels, The Master Key features encounters with real historical figures of the period, such as King Edward of Britain, President Loubet of France, and the Duke of Orl ans.
Output: What does Rob accidentally touch?
The protagonist is a boy named Rob Joslyn. His age is not specified. Baum dedicated the book "To My Son, Robert Stanton Baum," who was born in 1886 and would thus have been about fifteen at the time it was published.
Rob is an electrical experimenter whose father encourages him and sees that he "never lacked batteries, motors or supplies of any sort." A "net-work[sic] of wires soon ran throughout the house". He loses track of the elaborately interconnected wires, and trying to get a cardboard house to light up, he "experimented in a rather haphazard fashion, connecting this and that wire blindly and by guesswork, in the hope that he would strike the right combination." There is a bright flash, and a being who calls himself the Demon of Electricity appears. He tells Rob that he has accidentally "touched the Master Key of Electricity" and is entitled "to demand from me three gifts each week for three successive weeks." Rob protests that he does not know what to ask for, and the Demon agrees to select the gifts himself.
During the first week, the Demon gives Rob three gifts:
a silver box of food tablets, each one of which provides sufficient nourishment for a whole day
a "small tube" which can direct "an electric current" at a foe, rendering him unconscious for the period of one hour
a wristwatch-sized transportation device, which allows the wearer to fly at any height and travel at high speeds in any direction, when it is working properly. It is, however, somewhat fragile and becomes damaged and unreliable during Rob's adventures, creating predicaments for him.
During the second week, the Demon gives Rob three additional gifts:
a "garment of protection," which renders him invulnerable to bullets, swords, or other physical attack
a "record of events," which provides remote views of important events taking place in any part of the world at any time within the last twenty-four hours
A "character marker," a set of spectacles: "while you wear them every one you meet will be marked upon the forehead with a letter indicating his or her character. The good will bear the letter 'G,' the evil the letter 'E.' The wise will be marked with a 'W' and the foolish with an 'F.' The kind will show a 'K' upon their foreheads and the cruel a letter 'C.'"
Over the next two weeks, Rob experiences adventures exploring the use of the Demon's gifts, but eventually concludes that neither he nor the world is ready for them. On the third week, Rob rejects the Demon's gifts and tells him to bide his time until humankind knows how to use them. The Demon leaves. With a light heart, Rob concludes that he made the right decision.
Like some of Baum's adult novels, The Master Key features encounters with real historical figures of the period, such as King Edward of Britain, President Loubet of France, and the Duke of Orl ans.
Output: What is the second of the three gifts from the first week?
The protagonist is a boy named Rob Joslyn. His age is not specified. Baum dedicated the book "To My Son, Robert Stanton Baum," who was born in 1886 and would thus have been about fifteen at the time it was published.
Rob is an electrical experimenter whose father encourages him and sees that he "never lacked batteries, motors or supplies of any sort." A "net-work[sic] of wires soon ran throughout the house". He loses track of the elaborately interconnected wires, and trying to get a cardboard house to light up, he "experimented in a rather haphazard fashion, connecting this and that wire blindly and by guesswork, in the hope that he would strike the right combination." There is a bright flash, and a being who calls himself the Demon of Electricity appears. He tells Rob that he has accidentally "touched the Master Key of Electricity" and is entitled "to demand from me three gifts each week for three successive weeks." Rob protests that he does not know what to ask for, and the Demon agrees to select the gifts himself.
During the first week, the Demon gives Rob three gifts:
a silver box of food tablets, each one of which provides sufficient nourishment for a whole day
a "small tube" which can direct "an electric current" at a foe, rendering him unconscious for the period of one hour
a wristwatch-sized transportation device, which allows the wearer to fly at any height and travel at high speeds in any direction, when it is working properly. It is, however, somewhat fragile and becomes damaged and unreliable during Rob's adventures, creating predicaments for him.
During the second week, the Demon gives Rob three additional gifts:
a "garment of protection," which renders him invulnerable to bullets, swords, or other physical attack
a "record of events," which provides remote views of important events taking place in any part of the world at any time within the last twenty-four hours
A "character marker," a set of spectacles: "while you wear them every one you meet will be marked upon the forehead with a letter indicating his or her character. The good will bear the letter 'G,' the evil the letter 'E.' The wise will be marked with a 'W' and the foolish with an 'F.' The kind will show a 'K' upon their foreheads and the cruel a letter 'C.'"
Over the next two weeks, Rob experiences adventures exploring the use of the Demon's gifts, but eventually concludes that neither he nor the world is ready for them. On the third week, Rob rejects the Demon's gifts and tells him to bide his time until humankind knows how to use them. The Demon leaves. With a light heart, Rob concludes that he made the right decision.
Like some of Baum's adult novels, The Master Key features encounters with real historical figures of the period, such as King Edward of Britain, President Loubet of France, and the Duke of Orl ans.
Output: What can the "Record of Events" show?
The protagonist is a boy named Rob Joslyn. His age is not specified. Baum dedicated the book "To My Son, Robert Stanton Baum," who was born in 1886 and would thus have been about fifteen at the time it was published.
Rob is an electrical experimenter whose father encourages him and sees that he "never lacked batteries, motors or supplies of any sort." A "net-work[sic] of wires soon ran throughout the house". He loses track of the elaborately interconnected wires, and trying to get a cardboard house to light up, he "experimented in a rather haphazard fashion, connecting this and that wire blindly and by guesswork, in the hope that he would strike the right combination." There is a bright flash, and a being who calls himself the Demon of Electricity appears. He tells Rob that he has accidentally "touched the Master Key of Electricity" and is entitled "to demand from me three gifts each week for three successive weeks." Rob protests that he does not know what to ask for, and the Demon agrees to select the gifts himself.
During the first week, the Demon gives Rob three gifts:
a silver box of food tablets, each one of which provides sufficient nourishment for a whole day
a "small tube" which can direct "an electric current" at a foe, rendering him unconscious for the period of one hour
a wristwatch-sized transportation device, which allows the wearer to fly at any height and travel at high speeds in any direction, when it is working properly. It is, however, somewhat fragile and becomes damaged and unreliable during Rob's adventures, creating predicaments for him.
During the second week, the Demon gives Rob three additional gifts:
a "garment of protection," which renders him invulnerable to bullets, swords, or other physical attack
a "record of events," which provides remote views of important events taking place in any part of the world at any time within the last twenty-four hours
A "character marker," a set of spectacles: "while you wear them every one you meet will be marked upon the forehead with a letter indicating his or her character. The good will bear the letter 'G,' the evil the letter 'E.' The wise will be marked with a 'W' and the foolish with an 'F.' The kind will show a 'K' upon their foreheads and the cruel a letter 'C.'"
Over the next two weeks, Rob experiences adventures exploring the use of the Demon's gifts, but eventually concludes that neither he nor the world is ready for them. On the third week, Rob rejects the Demon's gifts and tells him to bide his time until humankind knows how to use them. The Demon leaves. With a light heart, Rob concludes that he made the right decision.
Like some of Baum's adult novels, The Master Key features encounters with real historical figures of the period, such as King Edward of Britain, President Loubet of France, and the Duke of Orl ans.
Output: How many total gifts does the demon offer to Rob?