Input: Pester came running into the room. He came to a fast stop when he saw the dog. He'd seen a dog before, every cat has, and he used to live with a black dog named Henry, but he'd never seen a brown one before. It seemed strange to him, but not as strange as it was to see Linda the brown chicken in the living room last spring. That still confused him. He thought he liked this dog, not because of the color, but because it was small. And it was so hairy. It was a like a mop that could run around. He jumped on his favorite chair and looked down as Maggie ran under it. She was kind of cute for a dog, Pester thought to himself. He layed down on the chair and pawed at her as she ran in a circle under it. He tapped her ears as she went by, and waved his tail like a flag trying to get her attention. After a little more of this, Pester curled up in a ball on the chair and took a nap.
"Why did Pester think of a mop when he saw the dog?" is "It was so black"?
Output: no
Input: Madame White Snake: East Asian Femme Fatale of Old The Chinese legend of Madame White Snake, the snake demon that takes human form and becomes the wife of a man, has exerted a lasting influence over East Asian folktales and fiction for centuries. Two quintessential novellas, "The Lust of the White Serpant" from Ugetsu Monogatari by the Japanese author Ueda Akinari and "Eternal Prisoner under Thunder Peak Pagoda" a traditional Chinese story, are both relatively complex and demonstrate not only the evolution of the White Snake figure to become a more believable human, but also what aspects may have given her enduring appeal. While both these stories are ostensibly morality tales about the dangerous beauty of this femme fatale, the true source of pleasure from these narratives is the femme fatale's transgressive behavior, not her eventual punishment for it. Early tales of Madame White Snake appeared in China as early as the Song Dynasty, and initially her portrayal was fairly direct, as a villainous demon who drains the life force out of her human husband. But over time, characterizations of her became more complex, and the persona of Madame White Snake became more sympathetic, and perhaps even a model of the ideal Confucian wife, particularly in "Pagoda". Whalen Lai notes, "She was a loving wife, a caring mother, rescuer of her family from the first flood, and, at that point, a general benefactor of man. She took on the virtues of a traditional Chinese female, particularly forbearance". But if she were really an ideal wife, why could she not live happily with her human mate? Her dangerous sexuality is the key. Femme fatale might seem an unusual term to apply to a character from pre-modern Chinese and Japanese literature who may exemplify the virtues of an ideal Confucian wife, since it is primarily associated with film characters, particularly those of the film noir genre. But this term, which is relatively speaking, a neologism (The earliest uses were around the beginning of the 20th century
"What novellas are morality tales about Asia's Femme Fatale White Snake?" is ""The Lust of the White Serpant" & "Eternal Prisoner under Thunder Peak Pagoda""?
Output: yes
Input: On his return to Nuremberg in 1495, Durer opened his own workshop (being married was a requirement for this). Over the next five years his style increasingly integrated Italian influences into underlying Northern forms. Durer's father died in 1502, and his mother died in 1513. His best works in the first years of the workshop were his woodcut prints, mostly religious, but including secular scenes such as The Men's Bath House (ca. 1496). These were larger and more finely cut than the great majority of German woodcuts hitherto, and far more complex and balanced in composition. It is now thought unlikely that Durer cut any of the woodblocks himself; this task would have been performed by a specialist craftsman. However, his training in Wolgemut's studio, which made many carved and painted altarpieces and both designed and cut woodblocks for woodcut, evidently gave him great understanding of what the technique could be made to produce, and how to work with block cutters. Durer either drew his design directly onto the woodblock itself, or glued a paper drawing to the block. Either way, his drawings were destroyed during the cutting of the block.
"Whether the designs were drawn directly onto the block or were paper drawings glued to the block, what was the end result of the original work?" is "They were broken during the process"?
Output:
no