Background: Mumtaz Mahal (Urdu: mumtz mHal ), ([mum'ta:z me'hel]; meaning "the Exalted One of the palace"; Arjumand Banu; 27 April 1593 - 17 June 1631) was Empress consort of the Mughal Empire from 19 January 1628 to 17 June 1631 as the chief consort of the Mughal emperor Shah Jahan. The UNESCO World Heritage Site Taj Mahal in Agra, often cited as one of the Wonders of the World, was commissioned to act as her final resting place. Mumtaz Mahal was born Arjumand Banu Begum in Agra to a family of Persian nobility.
Context: Mumtaz Mahal was betrothed to Shah Jahan around 30 January 1607, when she was 14 years old at the time and he was 15. They were, however, married five years after the year of their betrothal on 30 April 1612 in Agra. The marriage was a love-match. After their wedding celebrations, Shah Jahan, "finding her in appearance and character elect among all the women of the time", gave her the title "Mumtaz Mahal" Begum ("the Exalted One of the Palace"). During the intervening years between their betrothal and marriage, Shah Jahan had gotten married to his first wife, Princess Kandahari Begum in 1609 and in 1617, after marrying Mumtaz, took a third wife, Izz-un-Nissa Begum (titled Akbarabadi Mahal), the daughter of a prominent Mughal courtier. According to the official court historians, both the marriages were political alliances. By all accounts, Shah Jahan was so taken with Mumtaz that he showed little interest in exercising his polygamous rights with his two other wives, other than dutifully siring a child with each. According to the official court chronicler, Motamid Khan, as recorded in his Iqbal Namah-e-Jahangiri, the relationship with his other wives "had nothing more than the status of marriage. The intimacy, deep affection, attention and favour which Shah Jahan had for Mumtaz exceeded what he felt for his other wives." Likewise, Shah Jahan's historian Inayat Khan commented that 'his whole delight was centered on this illustrious lady [Mumtaz], to such an extent that he did not feel towards the others [i.e. his other wives] one-thousandth part of the affection that he did for her.' Mumtaz had a loving marriage with Shah Jahan. Even during her lifetime, poets would extol her beauty, grace, and compassion. Despite her frequent pregnancies, Mumtaz travelled with Shah Jahan's entourage throughout his earlier military campaigns and the subsequent rebellion against his father. She was his constant companion and trusted confidant, leading court historians to go to unheard lengths to document the intimate and erotic relationship the couple enjoyed. In their nineteen years of marriage, they had fourteen children together (eight sons and six daughters), seven of whom died at birth or at a very young age.
Question: Did they have children?
Answer: they had fourteen children together (eight sons and six daughters), seven of whom died at birth or at a very young age.

Background: Johann Christian Friedrich Holderlin (German: ['jo:han 'kRIsti.a:n 'fRi:
Context: After obtaining his magister degree in 1793, his mother expected him to enter the ministry. However, Holderlin found no satisfaction in the prevailing Protestant theology, and worked instead as a private tutor. In 1794, he met Friedrich Schiller and Johann Wolfgang Goethe and began writing his epistolary novel Hyperion. In 1795 he enrolled for a while at the University of Jena where he attended Johann Gottlieb Fichte's classes and met Novalis. There is a seminal manuscript, dated 1797, now known as the Das alteste Systemprogramm des deutschen Idealismus ("The Oldest Systematic Program of German Idealism"). Although the document is in Hegel's handwriting, it is thought to have been written by either Hegel, Schelling, Holderlin, or an unknown fourth person. As a tutor in Frankfurt am Main from 1796 to 1798 he fell in love with Susette Gontard, the wife of his employer, the banker Jakob Gontard. The feeling was mutual, and this relationship became the most important in Holderlin's life. After a while, their affair was discovered, and Holderlin was harshly dismissed. He then lived in Homburg from 1798 to 1800, meeting Susette in secret once a month and attempting to establish himself as a poet, but his life was plagued by financed worries and had to accept a small allowance from his mother. His mandated separation from Susette Gontard also worsened Holderlin's doubts about himself and his value as a poet; he wished to transform German culture but did not have the influence he needed. From 1797 to 1800, he produced three versions--all unfinished--of a tragedy in the Greek manner, The Death of Empedocles, and composed odes in the vein of the Ancient Greeks Alcaeus and Asclepiades of Samos.
Question: Did he switch careers?
Answer: attempting to establish himself as a poet,

Background: Thelonious Sphere Monk was born two years after his sister Marion on October 10, 1917, in Rocky Mount, North Carolina, and was the son of Thelonious and Barbara Monk. His badly written birth certificate misspelled his first name as "Thelious" or "Thelius." It also did not list his middle name, taken from his maternal grandfather, Sphere Batts. A brother, Thomas, was born in January 1920.
Context: In his early teens, Monk toured with an evangelist, playing the church organ, and in his late teens he began to find work playing jazz. In the early to mid-1940s, he was the house pianist at Minton's Playhouse, a Manhattan nightclub. Much of Monk's style was developed during his time at Minton's, when he participated in after-hours cutting contests, which featured many leading jazz soloists of the time. Monk's musical work at Minton's was crucial in the formulation of bebop, which would be furthered along by other artists, including Dizzy Gillespie, Charlie Christian, Kenny Clarke, Charlie Parker, and, later, Miles Davis. Monk is believed to be the pianist featured on recordings Jerry Newman made around 1941 at the club. Monk's style at this time was later described as "hard-swinging," with the addition of runs in the style of Art Tatum. Monk's stated influences included Duke Ellington, James P. Johnson, and other early stride pianists. In the documentary Thelonious Monk: Straight, No Chaser, it is stated that Monk lived in the same neighborhood in New York City as Johnson and knew him as a teenager. Mary Lou Williams, who mentored Monk and his contemporaries, spoke of Monk's rich inventiveness in this period, and how such invention was vital for musicians, since at the time it was common for fellow musicians to incorporate overheard musical ideas into their own works without giving due credit. "So, the boppers worked out a music that was hard to steal. I'll say this for the 'leeches,' though: they tried. I've seen them in Minton's busily writing on their shirt cuffs or scribbling on the tablecloth. And even our own guys, I'm afraid, did not give Monk the credit he had coming. Why, they even stole his idea of the beret and bop glasses." In 1944 Monk made his first studio recordings with the Coleman Hawkins Quartet. Hawkins was one of the earliest established jazz musicians to promote Monk, and the pianist later returned the favor by inviting Hawkins to join him on a 1957 session with John Coltrane.
Question: How did they help?
Answer:
Monk's style at this time was later described as "hard-swinging," with the addition of runs in the style of Art Tatum.