In this task, you will be presented with a context passage, a question about that paragraph, and a possible answer to that question. The task is to check the validity of the answer. Answer with "Yes" or "No".

Ex Input:
"Femme" is an apt description of the depiction of Madame White Snake and all her incarnations. It refers to a woman who is dangerously attractive, and lures men to their downfall with her sexual attractiveness. In both incarnations of Madame White snake, the authors depict her as bewitchingly beautiful. Toyoo, her human lover in "Lust of the White Serpant" cannot shake the image of her beauty from his mind and dreams of her, and finds himself "disturbed and agitated" by her "ethereal beauty". In "Eternal Prisoner," Madame White Snake's bewitching beauty follows her lover Hsu into his dreams, and the next morning "he was so distracted that he could not concentrate on doing business." Both of these stories align negative connotations with her beauty, suggesting that her sexuality is the cause of their distraction. In addition to distracting sexuality, the irregular characterization of Madame White Snake might be another trait her character has in common with the archetypical noir femme fatale. In her essay analyzing the noir film from a feminist perspective, Christine Gledhill writes "Not only is the hero frequently not sure whether the woman is honest or a deceiver, but the heroine's characterisation is itself fractured so that it is not evident to the audience whether she fills the [femme fatale] stereotype or not". <sep>In this passage, "Femme" is referring to what kind of woman?<sep>Bewitching beauty

Ex Output:
Yes

Ex Input:
Allan crouched over his desk once more, pen in hand and mind blank. He contemplated a story, an outline he had laboriously constructed some time ago. He had filled his pen and raised it, the nib descending towards the paper, before the sound came: the gentle, persistent tapping of the gnarled, primeval willow touching the window with long, insistent fingers. His eyes awoke with a passionate, determined flame, though the only light came from the glutted moon. Allan filled page after page, the words escaping from his mind onto the paper. Where before they had marched in regiments, practiced in ranks and followed their leaders' commands, the words now escaped in their true forms, unhindered by any stricture. He continued long into the night, until the eldritch orb had sunk into the waiting hands of the willow, raised perpetually skyward. Arthur looked up from the results of a night's frenzied labors and looked Allan in the eye. "What is this?" he queried, indicating the pages he held in his left hand. "I decided that since I wasn't having much success with more traditional stories, I might see what sort of work I produced if I let my imagination go freely," Allan replied, somewhat less self-assured than he had been the previous night. "What in G-d's name could have possessed you to do such a thing," cried Arthur, nearly raising his voice. "After all I said the day before, why have you abandoned centuries of literary progress for some self-indulgent fantasy?" He shook the papers at Allan, raising them like a belt above the head of a disobedient son. "This is nothing but a glorified Grimm's tale, a miscarried child of Stoker, a creation less fit to be published than to be told around an open fire at the hovel of some peasant!" He spoke the last word with such heavy intonation that Allan shrank back before the physical wave of sound emanating from Arthur's throat. "Do you hate the modern system of literature? Do you personally despise the works the Enlightenment or the progress made since Shakespeare?" For a moment, Allan could hardly do more than shake his head. "No, of course not I " "Then why," Arthur barreled on, "do you disregard them all and return to this superstitious babble, this morbid, paganistic drivel? <sep>Did Allan write his story in a single session?<sep>Yes

Ex Output:
Yes

Ex Input:
The day was just breaking, as I left the tower; though it was still too dark in the house to be able to see without a light, and I took one of the study candles with me on my 'round. By the time I had finished the ground floor, the daylight was creeping in, wanly, through the barred windows. My search had shown me nothing fresh. Everything appeared to be in order, and I was on the point of extinguishing my candle, when the thought suggested itself to me to have another glance 'round the cellars. I had not, if I remember rightly, been into them since my hasty search on the evening of the attack. For, perhaps, the half of a minute, I hesitated. I would have been very willing to forego the task--as, indeed, I am inclined to think any man well might--for of all the great, awe-inspiring rooms in this house, the cellars are the hugest and weirdest. Great, gloomy caverns of places, unlit by any ray of daylight. Yet, I would not shirk the work. I felt that to do so would smack of sheer cowardice. Besides, as I reassured myself, the cellars were really the most unlikely places in which to come across anything dangerous; considering that they can be entered, only through a heavy oaken door, the key of which, I carry always on my person. <sep>Why did he hesitate before going into the cellar?<sep>It scares him

Ex Output:
Yes