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

Does the response "Quintessential novels" correctly answer the question "What type of stories are "The Lust of the White Serpant" and "Eternal Prisoner under Thunder Peak Pagoda"?"?

OPTIONS:
- no
- yes
***
Output: yes

Input: Appended to the last book, however, is a self-contained essay on aesthetics, which Durer worked on between 1512 and 1528, and it is here that we learn of his theories concerning 'ideal beauty'. Durer rejected Alberti's concept of an objective beauty, proposing a relativist notion of beauty based on variety. Nonetheless, Durer still believed that truth was hidden within nature, and that there were rules which ordered beauty, even though he found it difficult to define the criteria for such a code. In 1512/13 his three criteria were function ('Nutz'), naive approval ('Wohlgefallen') and the happy medium ('Mittelmass'). However, unlike Alberti and Leonardo, Durer was most troubled by understanding not just the abstract notions of beauty but also as to how an artist can create beautiful images. Between 1512 and the final draft in 1528, Durer's belief developed from an understanding of human creativity as spontaneous or inspired to a concept of 'selective inward synthesis'. In other words, that an artist builds on a wealth of visual experiences in order to imagine beautiful things. Durer's belief in the abilities of a single artist over inspiration prompted him to assert that "one man may sketch something with his pen on half a sheet of paper in one day, or may cut it into a tiny piece of wood with his little iron, and it turns out to be better and more artistic than another's work at which its author labours with the utmost diligence for a whole year."

Does the response "Sixteen years" correctly answer the question "How many years passed between the first and final drafts of Durer's essay on aesthetics?"?

OPTIONS:
- no
- yes
***
Output: yes

Input: (CNN) -- Jo-Wilfried Tsonga ended Roger Federer's hopes of winning a record-equaling seventh Wimbledon title on Wednesday as the French 12th seed staged a stunning fightback to reach the semifinals. Federer appeared to be cruising into the last four after winning the first two sets, but Tsonga inflicted the Swiss world No. 3's first defeat from that vantage point in 179 grand slam matches. It was only the third time in the 29-year-old's glittering career that the 16-time grand slam champion had surrendered a two-set lead. Tsonga, ranked 19th in the world, triumphed 3-6 6-7 (3-7) 6-4 6-4 6-4 on Centre Court, serving out to love as he earned a clash with second seed Novak Djokovic. The Serbian, who beat Tsonga in the 2008 Australian Open final, ended the dream run of Australian 18-year-old Bernard Tomic. Tsonga defeated Federer for just the second time in six meetings, their first on grass. "It was amazing. I played unbelievable. It's never easy to come back against Roger. I'm so happy, it's crazy," the 26-year-old told reporters after reaching the semifinals at Wimbledon for the first time. "He's the biggest champion in the sport. He has achieved so much and is the best player in the world. To be two sets down and come back was unbelievable. I served really well. Against Djokovic I will have to come out and do the same again." Federer has now lost in the quarterfinals two years in a row, being beaten by eventual runner-up Tomas Berdych in 2010. "Jo played great. Really from start to finish I don't remember seeing a break point after I broke him in the first game," Federer said.

Does the response "Jo-Wilfried Tsonga" correctly answer the question "Who came back against Federer?"?

OPTIONS:
- no
- yes
***
Output:
yes