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".

Example Input: Tokugawa Takes All: When Hideyoshi died in 1598, he hoped to have his five-year-old son continue his "dynasty," initially under the tutelage of five regents. But one of the regents was Ieyasu Tokugawa, who had been biding his time at Edo for 12 years, nurturing dynastic ambitions of his own. Of the cunning, ruthless triumvirate that came out on top at the end of the country's century of civil war, Tokugawa was without doubt the most patient, the most prudentand most treacherous. He moved quickly to eliminate his strongest rivals, crushing them in 1600 at the great Battle of Sekigahara (near modern Nagoya). During its subsequent two and a half centuries of rule from the new capital established at Edo, the Tokugawa organized a tightly controlled coalition of some 260 daimyo in strategic strongholds throughout the country. The allegiance of this highly privileged and prestigious group was ensured by cementing their ethical principles in the code of bushido, "The way of the warrior": loyalty to one's master, defense of one's status and honor, and fulfillment of all obligations. Loyalty was further enforced by holding the vassals' wives and children hostage in Edo. All roads into Edo, the most famous being the Tokaido Highway, had checkpoints for guns coming in and for wives going out. One of the most effective ways of keeping a tight rein on the country was to cut it off from the outside world, to keep Japan Japanese. At first, Ieyasu Tokugawa was eager to promote foreign trade. He wanted silk and encouraged the Dutch and British as good, nonproselytizing Protestants just interested in trade. But he didn't like the Portuguese and Spanish Catholic missionaries, who he felt were undermining traditional Japanese values. He banned their activities in 1612 and two years later ordered the expulsion of all missionaries and unrepentant Japanese converts. Executions and torture followed. Converts were forced to renounce their faith by trampling crucifixes and effigies of Jesus and Mary. The Catholic Church has counted 3,125 martyrs in Japan from 1597 (beginning under Hideyoshi) to 1660. In 1635 the Japanese were forbidden, on pain of death, to attempt to travel abroad, and Japanese citizens already overseas were prevented from returning, in case they brought back subversive Christian doctrines. Western books were banned, as were Chinese books that mentioned Christianity. <sep>What actions did the Tokugawa take towards missionaries and those who converted to Catholicism?<sep>He fought them in battle
Example Output: No

Example Input: The highest point of a wave is the crest. The lowest point is the trough. The vertical distance between a crest and a trough is the height of the wave. Wave height is also called amplitude. The horizontal distance between two crests is the wavelength. Both amplitude and wavelength are measures of wave size. The size of an ocean wave depends on how fast, over how great a distance, and how long the wind blows. The greater each of these factors is, the bigger a wave will be. Some of the biggest waves occur with hurricanes. A hurricane is a storm that forms over the ocean. Its winds may blow more than 150 miles per hour! The winds also travel over long distances and may last for many days. <sep>What do we know about wind from the paragraph?<sep>Winds may blow more than 150 miles per hour! Sent 12: The winds also travel over long distances and may last for many days
Example Output: Yes

Example Input: LONDON, England (CNN) -- British filmmaker, screenwriter and playwright, Mike Leigh has been in the movie business for over 35 years. Leigh on screenwriting: "I don't make a conventional screenplay ... it's a whole organic process." In that time, he has been nominated for five Oscars, as well as winning the Best Director award at Cannes Film Festival for "Naked" in 1993, the Palme d'Or there for "Secrets & Lies" in 1996 and the Leono d'Oro at Venice Film Festival in 2004 for "Vera Drake." Famous for his fierce independence (read refusal to work in Hollywood), Leigh's work is known for gritty realism and a focus on underprivileged sections of British society. Another of Leigh's calling cards is an unconventional approach to screenwriting. "The Screening Room" caught up with the veteran director at the International Screenwriters' Festival in the UK earlier this year to ask him more about his approach to making films. The Screening Room: Why is this festival so important to you? Mike Leigh: I am a filmmaker who is both a writer and director and I have this way of making films where the writing and the actors and the shooting is all combined together. I don't make a conventional screenplay ... it's a whole organic process. TSR: What do you think other scriptwriters can learn from you? ML: I think screenwriters who, because of the politics and economics of the film industry, are forced to work in a much more conventional way, are always fascinated to discuss with me how I work. TSR: There is this romantic idea that screenwriting has to be a painful, solitary experience. That's not what you experience, though. <sep>Does Mike Leigh appeal to Hollywood?<sep>Mike Leigh is adverse to Hollywood and want to control his own productions
Example Output:
Yes