Input: Paul put the despised watch away And laid out before him his array Of stones and metals, and when the morning Struck the stones to their best adorning, He chose the brightest, and this new watch Was so light and thin it seemed to catch The sunlight's nothingness, and its gleam. Topazes ran in a foamy stream Over the cover, the hands were studded With garnets, and seemed red roses, budded. The face was of crystal, and engraved Upon it the figures flashed and waved With zircons, and beryls, and amethysts. It took a week to make, and his trysts At night with the Shadow were his alone. Paul swore not to speak till his task was done. The night that the jewel was worthy to give. Paul watched the long hours of daylight live To the faintest streak; then lit his light, And sharp against the wall's pure white The outline of the Shadow started Into form. His burning-hearted Words so long imprisoned swelled To tumbling speech. Like one compelled, He told the lady all his love, And holding out the watch above His head, he knelt, imploring some Littlest sign. The Shadow was dumb.

Does the response "Garnets" correctly answer the question "What was the face of the watch made of?"?

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- no
- yes
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Output: no

Input: Zakariya Essabar, a Moroccan citizen, moved to Germany in February 1997 and to Hamburg in 1998, where he studied medical technology. Soon after moving to Hamburg, Essabar met Binalshibh and the others through a Turkish mosque. Essabar turned extremist fairly suddenly, probably in 1999, and reportedly pressured one acquaintance with physical force to become more religious, grow a beard, and compel his wife to convert to Islam. Essabar's parents were said to have made repeated but unsuccessful efforts to sway him from this lifestyle. Shortly before the 9/11 attacks, he would travel to Afghanistan to communicate the date for the attacks to the al Qaeda leadership. Mounir el Motassadeq, another Moroccan, came to Germany in 1993, moving to Hamburg two years later to study electrical engineering at theTechnical University. A witness has recalled Motassadeq saying that he would kill his entire family if his religious beliefs demanded it. One of Motassadeq's roommates recalls him referring to Hitler as a "good man" and organizing film sessions that included speeches by Bin Laden. Motassadeq would help conceal the Hamburg group's trip to Afghanistan in late 1999. Abdelghani Mzoudi, also a Moroccan, arrived in Germany in the summer of 1993, after completing university courses in physics and chemistry. Mzoudi studied in Dortmund, Bochum, and Muenster before moving to Hamburg in 1995. Mzoudi described himself as a weak Muslim when he was home in Morocco, but much more devout when he was back in Hamburg. In April 1996, Mzoudi and Motassadeq witnessed the execution of Atta's will. During the course of 1999, Atta and his group became ever more extreme and secretive, speaking only in Arabic to conceal the content of their conversations. 87 When the four core members of the Hamburg cell left Germany to journey to Afghanistan late that year, it seems unlikely that they already knew about the planes operation; no evidence connects them to al Qaeda before that time. Witnesses have attested, however, that their pronouncements reflected ample predisposition toward taking some action against the United States. In short, they fit the bill for Bin Laden, Atef, and KSM. Going to Afghanistan The available evidence indicates that in 1999, Atta, Binalshibh, Shehhi, and Jarrah decided to fight in Chechnya against the Russians.

Does the response "Wife must convert to islam" correctly answer the question "What are three examples of Mounir er Motassadeq's extremist opinions?"?

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Output: yes

Input: His famous series of sixteen great designs for the Apocalypse is dated 1498, as is his engraving of St. Michael Fighting the Dragon. He made the first seven scenes of the Great Passion in the same year, and a little later, a series of eleven on the Holy Family and saints. The Seven Sorrows Polyptych, commissioned by Frederick III of Saxony in 1496, was executed by Durer and his assistants c. Around 1503-1505 he produced the first seventeen of a set illustrating the Life of the Virgin, which he did not finish for some years. Neither these, nor the Great Passion, were published as sets until several years later, but prints were sold individually in considerable numbers. During the same period Durer trained himself in the difficult art of using the burin to make engravings. It is possible he had begun learning this skill during his early training with his father, as it was also an essential skill of the goldsmith. In 1496 he executed the Prodigal Son, which the Italian Renaissance art historian Giorgio Vasari singled out for praise some decades later, noting its Germanic quality. He was soon producing some spectacular and original images, notably Nemesis (1502), The Sea Monster (1498), and Saint Eustace (c. 1501), with a highly detailed landscape background and animals. His landscapes of this period, such as Pond in the Woods and Willow Mill, are quite different from his earlier watercolours. There is a much greater emphasis on capturing atmosphere, rather than depicting topography. He made a number of Madonnas, single religious figures, and small scenes with comic peasant figures. Prints are highly portable and these works made Durer famous throughout the main artistic centres of Europe within a very few years.

Does the response "Willow Mill" correctly answer the question "Which of his works place greater emphasis on capturing atmosphere rather than depicting topography?"?

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- no
- yes
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Output:
yes