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3quo65dnquoyop61ycae4yp7znkoun | Chapter 7
Betrayed
The two savages, Kaviri and Mugambi, squatting before the entrance to Kaviri's hut, looked at one another--Kaviri with ill-concealed alarm.
"What is it?" he whispered.
"It is Bwana Tarzan and his people," replied Mugambi. "But what they are doing I know not, unless it be that they are devouring your people who ran away."
Kaviri shuddered and rolled his eyes fearfully toward the jungle. In all his long life in the savage forest he had never heard such an awful, fearsome din.
Closer and closer came the sounds, and now with them were mingled the terrified shrieks of women and children and of men. For twenty long minutes the blood-curdling cries continued, until they seemed but a stone's throw from the palisade. Kaviri rose to flee, but Mugambi seized and held him, for such had been the command of Tarzan.
A moment later a horde of terrified natives burst from the jungle, racing toward the shelter of their huts. Like frightened sheep they ran, and behind them, driving them as sheep might be driven, came Tarzan and Sheeta and the hideous apes of Akut.
Presently Tarzan stood before Kaviri, the old quiet smile upon his lips.
"Your people have returned, my brother," he said, "and now you may select those who are to accompany me and paddle my canoe."
Tremblingly Kaviri tottered to his feet, calling to his people to come from their huts; but none responded to his summons.
"Tell them," suggested Tarzan, "that if they do not come I shall send my people in after them." | by whos command? | {
"answer_start": [
821
],
"text": [
"the command of Tarzan"
]
} |
3quo65dnquoyop61ycae4yp7znkoun | Chapter 7
Betrayed
The two savages, Kaviri and Mugambi, squatting before the entrance to Kaviri's hut, looked at one another--Kaviri with ill-concealed alarm.
"What is it?" he whispered.
"It is Bwana Tarzan and his people," replied Mugambi. "But what they are doing I know not, unless it be that they are devouring your people who ran away."
Kaviri shuddered and rolled his eyes fearfully toward the jungle. In all his long life in the savage forest he had never heard such an awful, fearsome din.
Closer and closer came the sounds, and now with them were mingled the terrified shrieks of women and children and of men. For twenty long minutes the blood-curdling cries continued, until they seemed but a stone's throw from the palisade. Kaviri rose to flee, but Mugambi seized and held him, for such had been the command of Tarzan.
A moment later a horde of terrified natives burst from the jungle, racing toward the shelter of their huts. Like frightened sheep they ran, and behind them, driving them as sheep might be driven, came Tarzan and Sheeta and the hideous apes of Akut.
Presently Tarzan stood before Kaviri, the old quiet smile upon his lips.
"Your people have returned, my brother," he said, "and now you may select those who are to accompany me and paddle my canoe."
Tremblingly Kaviri tottered to his feet, calling to his people to come from their huts; but none responded to his summons.
"Tell them," suggested Tarzan, "that if they do not come I shall send my people in after them." | who came out of the jungle? | {
"answer_start": [
861
],
"text": [
"a horde of terrified natives burst from the jungle"
]
} |
3quo65dnquoyop61ycae4yp7znkoun | Chapter 7
Betrayed
The two savages, Kaviri and Mugambi, squatting before the entrance to Kaviri's hut, looked at one another--Kaviri with ill-concealed alarm.
"What is it?" he whispered.
"It is Bwana Tarzan and his people," replied Mugambi. "But what they are doing I know not, unless it be that they are devouring your people who ran away."
Kaviri shuddered and rolled his eyes fearfully toward the jungle. In all his long life in the savage forest he had never heard such an awful, fearsome din.
Closer and closer came the sounds, and now with them were mingled the terrified shrieks of women and children and of men. For twenty long minutes the blood-curdling cries continued, until they seemed but a stone's throw from the palisade. Kaviri rose to flee, but Mugambi seized and held him, for such had been the command of Tarzan.
A moment later a horde of terrified natives burst from the jungle, racing toward the shelter of their huts. Like frightened sheep they ran, and behind them, driving them as sheep might be driven, came Tarzan and Sheeta and the hideous apes of Akut.
Presently Tarzan stood before Kaviri, the old quiet smile upon his lips.
"Your people have returned, my brother," he said, "and now you may select those who are to accompany me and paddle my canoe."
Tremblingly Kaviri tottered to his feet, calling to his people to come from their huts; but none responded to his summons.
"Tell them," suggested Tarzan, "that if they do not come I shall send my people in after them." | what was chasing them? | {
"answer_start": [
1042
],
"text": [
"came Tarzan and Sheeta and the hideous apes of Akut"
]
} |
3quo65dnquoyop61ycae4yp7znkoun | Chapter 7
Betrayed
The two savages, Kaviri and Mugambi, squatting before the entrance to Kaviri's hut, looked at one another--Kaviri with ill-concealed alarm.
"What is it?" he whispered.
"It is Bwana Tarzan and his people," replied Mugambi. "But what they are doing I know not, unless it be that they are devouring your people who ran away."
Kaviri shuddered and rolled his eyes fearfully toward the jungle. In all his long life in the savage forest he had never heard such an awful, fearsome din.
Closer and closer came the sounds, and now with them were mingled the terrified shrieks of women and children and of men. For twenty long minutes the blood-curdling cries continued, until they seemed but a stone's throw from the palisade. Kaviri rose to flee, but Mugambi seized and held him, for such had been the command of Tarzan.
A moment later a horde of terrified natives burst from the jungle, racing toward the shelter of their huts. Like frightened sheep they ran, and behind them, driving them as sheep might be driven, came Tarzan and Sheeta and the hideous apes of Akut.
Presently Tarzan stood before Kaviri, the old quiet smile upon his lips.
"Your people have returned, my brother," he said, "and now you may select those who are to accompany me and paddle my canoe."
Tremblingly Kaviri tottered to his feet, calling to his people to come from their huts; but none responded to his summons.
"Tell them," suggested Tarzan, "that if they do not come I shall send my people in after them." | was tarzan pleased? | {
"answer_start": [
1135
],
"text": [
"the old quiet smile upon his lips"
]
} |
3quo65dnquoyop61ycae4yp7znkoun | Chapter 7
Betrayed
The two savages, Kaviri and Mugambi, squatting before the entrance to Kaviri's hut, looked at one another--Kaviri with ill-concealed alarm.
"What is it?" he whispered.
"It is Bwana Tarzan and his people," replied Mugambi. "But what they are doing I know not, unless it be that they are devouring your people who ran away."
Kaviri shuddered and rolled his eyes fearfully toward the jungle. In all his long life in the savage forest he had never heard such an awful, fearsome din.
Closer and closer came the sounds, and now with them were mingled the terrified shrieks of women and children and of men. For twenty long minutes the blood-curdling cries continued, until they seemed but a stone's throw from the palisade. Kaviri rose to flee, but Mugambi seized and held him, for such had been the command of Tarzan.
A moment later a horde of terrified natives burst from the jungle, racing toward the shelter of their huts. Like frightened sheep they ran, and behind them, driving them as sheep might be driven, came Tarzan and Sheeta and the hideous apes of Akut.
Presently Tarzan stood before Kaviri, the old quiet smile upon his lips.
"Your people have returned, my brother," he said, "and now you may select those who are to accompany me and paddle my canoe."
Tremblingly Kaviri tottered to his feet, calling to his people to come from their huts; but none responded to his summons.
"Tell them," suggested Tarzan, "that if they do not come I shall send my people in after them." | who called to his people? | {
"answer_start": [
1312
],
"text": [
"Kaviri tottered to his feet, calling to his people "
]
} |
3quo65dnquoyop61ycae4yp7znkoun | Chapter 7
Betrayed
The two savages, Kaviri and Mugambi, squatting before the entrance to Kaviri's hut, looked at one another--Kaviri with ill-concealed alarm.
"What is it?" he whispered.
"It is Bwana Tarzan and his people," replied Mugambi. "But what they are doing I know not, unless it be that they are devouring your people who ran away."
Kaviri shuddered and rolled his eyes fearfully toward the jungle. In all his long life in the savage forest he had never heard such an awful, fearsome din.
Closer and closer came the sounds, and now with them were mingled the terrified shrieks of women and children and of men. For twenty long minutes the blood-curdling cries continued, until they seemed but a stone's throw from the palisade. Kaviri rose to flee, but Mugambi seized and held him, for such had been the command of Tarzan.
A moment later a horde of terrified natives burst from the jungle, racing toward the shelter of their huts. Like frightened sheep they ran, and behind them, driving them as sheep might be driven, came Tarzan and Sheeta and the hideous apes of Akut.
Presently Tarzan stood before Kaviri, the old quiet smile upon his lips.
"Your people have returned, my brother," he said, "and now you may select those who are to accompany me and paddle my canoe."
Tremblingly Kaviri tottered to his feet, calling to his people to come from their huts; but none responded to his summons.
"Tell them," suggested Tarzan, "that if they do not come I shall send my people in after them." | what did tarzan want from him? | {
"answer_start": [
1227
],
"text": [
"now you may select those who are to accompany me and paddle my canoe"
]
} |
3quo65dnquoyop61ycae4yp7znkoun | Chapter 7
Betrayed
The two savages, Kaviri and Mugambi, squatting before the entrance to Kaviri's hut, looked at one another--Kaviri with ill-concealed alarm.
"What is it?" he whispered.
"It is Bwana Tarzan and his people," replied Mugambi. "But what they are doing I know not, unless it be that they are devouring your people who ran away."
Kaviri shuddered and rolled his eyes fearfully toward the jungle. In all his long life in the savage forest he had never heard such an awful, fearsome din.
Closer and closer came the sounds, and now with them were mingled the terrified shrieks of women and children and of men. For twenty long minutes the blood-curdling cries continued, until they seemed but a stone's throw from the palisade. Kaviri rose to flee, but Mugambi seized and held him, for such had been the command of Tarzan.
A moment later a horde of terrified natives burst from the jungle, racing toward the shelter of their huts. Like frightened sheep they ran, and behind them, driving them as sheep might be driven, came Tarzan and Sheeta and the hideous apes of Akut.
Presently Tarzan stood before Kaviri, the old quiet smile upon his lips.
"Your people have returned, my brother," he said, "and now you may select those who are to accompany me and paddle my canoe."
Tremblingly Kaviri tottered to his feet, calling to his people to come from their huts; but none responded to his summons.
"Tell them," suggested Tarzan, "that if they do not come I shall send my people in after them." | did anyone respond to Kaviri? | {
"answer_start": [
1387
],
"text": [
" but none responded"
]
} |
3quo65dnquoyop61ycae4yp7znkoun | Chapter 7
Betrayed
The two savages, Kaviri and Mugambi, squatting before the entrance to Kaviri's hut, looked at one another--Kaviri with ill-concealed alarm.
"What is it?" he whispered.
"It is Bwana Tarzan and his people," replied Mugambi. "But what they are doing I know not, unless it be that they are devouring your people who ran away."
Kaviri shuddered and rolled his eyes fearfully toward the jungle. In all his long life in the savage forest he had never heard such an awful, fearsome din.
Closer and closer came the sounds, and now with them were mingled the terrified shrieks of women and children and of men. For twenty long minutes the blood-curdling cries continued, until they seemed but a stone's throw from the palisade. Kaviri rose to flee, but Mugambi seized and held him, for such had been the command of Tarzan.
A moment later a horde of terrified natives burst from the jungle, racing toward the shelter of their huts. Like frightened sheep they ran, and behind them, driving them as sheep might be driven, came Tarzan and Sheeta and the hideous apes of Akut.
Presently Tarzan stood before Kaviri, the old quiet smile upon his lips.
"Your people have returned, my brother," he said, "and now you may select those who are to accompany me and paddle my canoe."
Tremblingly Kaviri tottered to his feet, calling to his people to come from their huts; but none responded to his summons.
"Tell them," suggested Tarzan, "that if they do not come I shall send my people in after them." | who will send their people? | {
"answer_start": [
1438
],
"text": [
"suggested Tarzan"
]
} |
3quo65dnquoyop61ycae4yp7znkoun | Chapter 7
Betrayed
The two savages, Kaviri and Mugambi, squatting before the entrance to Kaviri's hut, looked at one another--Kaviri with ill-concealed alarm.
"What is it?" he whispered.
"It is Bwana Tarzan and his people," replied Mugambi. "But what they are doing I know not, unless it be that they are devouring your people who ran away."
Kaviri shuddered and rolled his eyes fearfully toward the jungle. In all his long life in the savage forest he had never heard such an awful, fearsome din.
Closer and closer came the sounds, and now with them were mingled the terrified shrieks of women and children and of men. For twenty long minutes the blood-curdling cries continued, until they seemed but a stone's throw from the palisade. Kaviri rose to flee, but Mugambi seized and held him, for such had been the command of Tarzan.
A moment later a horde of terrified natives burst from the jungle, racing toward the shelter of their huts. Like frightened sheep they ran, and behind them, driving them as sheep might be driven, came Tarzan and Sheeta and the hideous apes of Akut.
Presently Tarzan stood before Kaviri, the old quiet smile upon his lips.
"Your people have returned, my brother," he said, "and now you may select those who are to accompany me and paddle my canoe."
Tremblingly Kaviri tottered to his feet, calling to his people to come from their huts; but none responded to his summons.
"Tell them," suggested Tarzan, "that if they do not come I shall send my people in after them." | if they dont do what? | {
"answer_start": [
1466
],
"text": [
"hey do not come "
]
} |
3a4tn5196kisae3e88uoqj60gt7ch5 | The word pharmacy is derived from its root word pharma which was a term used since the 15th–17th centuries. However, the original Greek roots from pharmakos imply sorcery or even poison. In addition to pharma responsibilities, the pharma offered general medical advice and a range of services that are now performed solely by other specialist practitioners, such as surgery and midwifery. The pharma (as it was referred to) often operated through a retail shop which, in addition to ingredients for medicines, sold tobacco and patent medicines. Often the place that did this was called an apothecary and several languages have this as the dominant term, though their practices are more akin to a modern pharmacy, in English the term apothecary would today be seen as outdated or only approproriate if herbal remedies were on offer to a large extent. The pharmas also used many other herbs not listed. The Greek word Pharmakeia (Greek: φαρμακεία) derives from pharmakon (φάρμακον), meaning "drug", "medicine" (or "poison").[n 1] | what word is asked about? | {
"answer_start": [
0
],
"text": [
"The word pharmacy"
]
} |
3a4tn5196kisae3e88uoqj60gt7ch5 | The word pharmacy is derived from its root word pharma which was a term used since the 15th–17th centuries. However, the original Greek roots from pharmakos imply sorcery or even poison. In addition to pharma responsibilities, the pharma offered general medical advice and a range of services that are now performed solely by other specialist practitioners, such as surgery and midwifery. The pharma (as it was referred to) often operated through a retail shop which, in addition to ingredients for medicines, sold tobacco and patent medicines. Often the place that did this was called an apothecary and several languages have this as the dominant term, though their practices are more akin to a modern pharmacy, in English the term apothecary would today be seen as outdated or only approproriate if herbal remedies were on offer to a large extent. The pharmas also used many other herbs not listed. The Greek word Pharmakeia (Greek: φαρμακεία) derives from pharmakon (φάρμακον), meaning "drug", "medicine" (or "poison").[n 1] | what is its origin word? | {
"answer_start": [
116
],
"text": [
" the original Greek roots from pharmakos"
]
} |
3a4tn5196kisae3e88uoqj60gt7ch5 | The word pharmacy is derived from its root word pharma which was a term used since the 15th–17th centuries. However, the original Greek roots from pharmakos imply sorcery or even poison. In addition to pharma responsibilities, the pharma offered general medical advice and a range of services that are now performed solely by other specialist practitioners, such as surgery and midwifery. The pharma (as it was referred to) often operated through a retail shop which, in addition to ingredients for medicines, sold tobacco and patent medicines. Often the place that did this was called an apothecary and several languages have this as the dominant term, though their practices are more akin to a modern pharmacy, in English the term apothecary would today be seen as outdated or only approproriate if herbal remedies were on offer to a large extent. The pharmas also used many other herbs not listed. The Greek word Pharmakeia (Greek: φαρμακεία) derives from pharmakon (φάρμακον), meaning "drug", "medicine" (or "poison").[n 1] | from what people? | {
"answer_start": [
116
],
"text": [
" the original Greek roots from pharmakos"
]
} |
3a4tn5196kisae3e88uoqj60gt7ch5 | The word pharmacy is derived from its root word pharma which was a term used since the 15th–17th centuries. However, the original Greek roots from pharmakos imply sorcery or even poison. In addition to pharma responsibilities, the pharma offered general medical advice and a range of services that are now performed solely by other specialist practitioners, such as surgery and midwifery. The pharma (as it was referred to) often operated through a retail shop which, in addition to ingredients for medicines, sold tobacco and patent medicines. Often the place that did this was called an apothecary and several languages have this as the dominant term, though their practices are more akin to a modern pharmacy, in English the term apothecary would today be seen as outdated or only approproriate if herbal remedies were on offer to a large extent. The pharmas also used many other herbs not listed. The Greek word Pharmakeia (Greek: φαρμακεία) derives from pharmakon (φάρμακον), meaning "drug", "medicine" (or "poison").[n 1] | used during when? | {
"answer_start": [
-1
],
"text": [
"unknown"
]
} |
3u84xhcdicdb6vqtlfud7syhk5jz4f | Gothic architecture is a style of architecture that flourished during the high and late medieval period. It evolved from Romanesque architecture and was succeeded by Renaissance architecture. Originating in 12th-century France and lasting into the 16th century, Gothic architecture was known during the period as Opus Francigenum ("French work") with the term Gothic first appearing during the later part of the Renaissance. Its characteristics include the pointed arch, the ribbed vault and the flying buttress. Gothic architecture is most familiar as the architecture of many of the great cathedrals, abbeys and churches of Europe. It is also the architecture of many castles, palaces, town halls, guild halls, universities and to a less prominent extent, private dwellings, such as dorms and rooms.
It is in the great churches and cathedrals and in a number of civic buildings that the Gothic style was expressed most powerfully, its characteristics lending themselves to appeals to the emotions, whether springing from faith or from civic pride. A great number of ecclesiastical buildings remain from this period, of which even the smallest are often structures of architectural distinction while many of the larger churches are considered priceless works of art and are listed with UNESCO as World Heritage Sites. For this reason a study of Gothic architecture is largely a study of cathedrals and churches. | What time period did Gothic architecture begin? | {
"answer_start": [
207
],
"text": [
"12th-century"
]
} |
3u84xhcdicdb6vqtlfud7syhk5jz4f | Gothic architecture is a style of architecture that flourished during the high and late medieval period. It evolved from Romanesque architecture and was succeeded by Renaissance architecture. Originating in 12th-century France and lasting into the 16th century, Gothic architecture was known during the period as Opus Francigenum ("French work") with the term Gothic first appearing during the later part of the Renaissance. Its characteristics include the pointed arch, the ribbed vault and the flying buttress. Gothic architecture is most familiar as the architecture of many of the great cathedrals, abbeys and churches of Europe. It is also the architecture of many castles, palaces, town halls, guild halls, universities and to a less prominent extent, private dwellings, such as dorms and rooms.
It is in the great churches and cathedrals and in a number of civic buildings that the Gothic style was expressed most powerfully, its characteristics lending themselves to appeals to the emotions, whether springing from faith or from civic pride. A great number of ecclesiastical buildings remain from this period, of which even the smallest are often structures of architectural distinction while many of the larger churches are considered priceless works of art and are listed with UNESCO as World Heritage Sites. For this reason a study of Gothic architecture is largely a study of cathedrals and churches. | What country? | {
"answer_start": [
220
],
"text": [
"France"
]
} |
3u84xhcdicdb6vqtlfud7syhk5jz4f | Gothic architecture is a style of architecture that flourished during the high and late medieval period. It evolved from Romanesque architecture and was succeeded by Renaissance architecture. Originating in 12th-century France and lasting into the 16th century, Gothic architecture was known during the period as Opus Francigenum ("French work") with the term Gothic first appearing during the later part of the Renaissance. Its characteristics include the pointed arch, the ribbed vault and the flying buttress. Gothic architecture is most familiar as the architecture of many of the great cathedrals, abbeys and churches of Europe. It is also the architecture of many castles, palaces, town halls, guild halls, universities and to a less prominent extent, private dwellings, such as dorms and rooms.
It is in the great churches and cathedrals and in a number of civic buildings that the Gothic style was expressed most powerfully, its characteristics lending themselves to appeals to the emotions, whether springing from faith or from civic pride. A great number of ecclesiastical buildings remain from this period, of which even the smallest are often structures of architectural distinction while many of the larger churches are considered priceless works of art and are listed with UNESCO as World Heritage Sites. For this reason a study of Gothic architecture is largely a study of cathedrals and churches. | It continued until when? | {
"answer_start": [
239
],
"text": [
"into the 16th century"
]
} |
3u84xhcdicdb6vqtlfud7syhk5jz4f | Gothic architecture is a style of architecture that flourished during the high and late medieval period. It evolved from Romanesque architecture and was succeeded by Renaissance architecture. Originating in 12th-century France and lasting into the 16th century, Gothic architecture was known during the period as Opus Francigenum ("French work") with the term Gothic first appearing during the later part of the Renaissance. Its characteristics include the pointed arch, the ribbed vault and the flying buttress. Gothic architecture is most familiar as the architecture of many of the great cathedrals, abbeys and churches of Europe. It is also the architecture of many castles, palaces, town halls, guild halls, universities and to a less prominent extent, private dwellings, such as dorms and rooms.
It is in the great churches and cathedrals and in a number of civic buildings that the Gothic style was expressed most powerfully, its characteristics lending themselves to appeals to the emotions, whether springing from faith or from civic pride. A great number of ecclesiastical buildings remain from this period, of which even the smallest are often structures of architectural distinction while many of the larger churches are considered priceless works of art and are listed with UNESCO as World Heritage Sites. For this reason a study of Gothic architecture is largely a study of cathedrals and churches. | What was this era known as? | {
"answer_start": [
313
],
"text": [
"Opus Francigenum"
]
} |
3u84xhcdicdb6vqtlfud7syhk5jz4f | Gothic architecture is a style of architecture that flourished during the high and late medieval period. It evolved from Romanesque architecture and was succeeded by Renaissance architecture. Originating in 12th-century France and lasting into the 16th century, Gothic architecture was known during the period as Opus Francigenum ("French work") with the term Gothic first appearing during the later part of the Renaissance. Its characteristics include the pointed arch, the ribbed vault and the flying buttress. Gothic architecture is most familiar as the architecture of many of the great cathedrals, abbeys and churches of Europe. It is also the architecture of many castles, palaces, town halls, guild halls, universities and to a less prominent extent, private dwellings, such as dorms and rooms.
It is in the great churches and cathedrals and in a number of civic buildings that the Gothic style was expressed most powerfully, its characteristics lending themselves to appeals to the emotions, whether springing from faith or from civic pride. A great number of ecclesiastical buildings remain from this period, of which even the smallest are often structures of architectural distinction while many of the larger churches are considered priceless works of art and are listed with UNESCO as World Heritage Sites. For this reason a study of Gothic architecture is largely a study of cathedrals and churches. | What does that translate to? | {
"answer_start": [
331
],
"text": [
"\"French work"
]
} |
3u84xhcdicdb6vqtlfud7syhk5jz4f | Gothic architecture is a style of architecture that flourished during the high and late medieval period. It evolved from Romanesque architecture and was succeeded by Renaissance architecture. Originating in 12th-century France and lasting into the 16th century, Gothic architecture was known during the period as Opus Francigenum ("French work") with the term Gothic first appearing during the later part of the Renaissance. Its characteristics include the pointed arch, the ribbed vault and the flying buttress. Gothic architecture is most familiar as the architecture of many of the great cathedrals, abbeys and churches of Europe. It is also the architecture of many castles, palaces, town halls, guild halls, universities and to a less prominent extent, private dwellings, such as dorms and rooms.
It is in the great churches and cathedrals and in a number of civic buildings that the Gothic style was expressed most powerfully, its characteristics lending themselves to appeals to the emotions, whether springing from faith or from civic pride. A great number of ecclesiastical buildings remain from this period, of which even the smallest are often structures of architectural distinction while many of the larger churches are considered priceless works of art and are listed with UNESCO as World Heritage Sites. For this reason a study of Gothic architecture is largely a study of cathedrals and churches. | Was this during medieval times? | {
"answer_start": [
88
],
"text": [
"medieval period"
]
} |
3u84xhcdicdb6vqtlfud7syhk5jz4f | Gothic architecture is a style of architecture that flourished during the high and late medieval period. It evolved from Romanesque architecture and was succeeded by Renaissance architecture. Originating in 12th-century France and lasting into the 16th century, Gothic architecture was known during the period as Opus Francigenum ("French work") with the term Gothic first appearing during the later part of the Renaissance. Its characteristics include the pointed arch, the ribbed vault and the flying buttress. Gothic architecture is most familiar as the architecture of many of the great cathedrals, abbeys and churches of Europe. It is also the architecture of many castles, palaces, town halls, guild halls, universities and to a less prominent extent, private dwellings, such as dorms and rooms.
It is in the great churches and cathedrals and in a number of civic buildings that the Gothic style was expressed most powerfully, its characteristics lending themselves to appeals to the emotions, whether springing from faith or from civic pride. A great number of ecclesiastical buildings remain from this period, of which even the smallest are often structures of architectural distinction while many of the larger churches are considered priceless works of art and are listed with UNESCO as World Heritage Sites. For this reason a study of Gothic architecture is largely a study of cathedrals and churches. | Which part? | {
"answer_start": [
74
],
"text": [
"high and late"
]
} |
3u84xhcdicdb6vqtlfud7syhk5jz4f | Gothic architecture is a style of architecture that flourished during the high and late medieval period. It evolved from Romanesque architecture and was succeeded by Renaissance architecture. Originating in 12th-century France and lasting into the 16th century, Gothic architecture was known during the period as Opus Francigenum ("French work") with the term Gothic first appearing during the later part of the Renaissance. Its characteristics include the pointed arch, the ribbed vault and the flying buttress. Gothic architecture is most familiar as the architecture of many of the great cathedrals, abbeys and churches of Europe. It is also the architecture of many castles, palaces, town halls, guild halls, universities and to a less prominent extent, private dwellings, such as dorms and rooms.
It is in the great churches and cathedrals and in a number of civic buildings that the Gothic style was expressed most powerfully, its characteristics lending themselves to appeals to the emotions, whether springing from faith or from civic pride. A great number of ecclesiastical buildings remain from this period, of which even the smallest are often structures of architectural distinction while many of the larger churches are considered priceless works of art and are listed with UNESCO as World Heritage Sites. For this reason a study of Gothic architecture is largely a study of cathedrals and churches. | When was the word Gothic first seen? | {
"answer_start": [
382
],
"text": [
" during the later part of the Renaissance"
]
} |
3u84xhcdicdb6vqtlfud7syhk5jz4f | Gothic architecture is a style of architecture that flourished during the high and late medieval period. It evolved from Romanesque architecture and was succeeded by Renaissance architecture. Originating in 12th-century France and lasting into the 16th century, Gothic architecture was known during the period as Opus Francigenum ("French work") with the term Gothic first appearing during the later part of the Renaissance. Its characteristics include the pointed arch, the ribbed vault and the flying buttress. Gothic architecture is most familiar as the architecture of many of the great cathedrals, abbeys and churches of Europe. It is also the architecture of many castles, palaces, town halls, guild halls, universities and to a less prominent extent, private dwellings, such as dorms and rooms.
It is in the great churches and cathedrals and in a number of civic buildings that the Gothic style was expressed most powerfully, its characteristics lending themselves to appeals to the emotions, whether springing from faith or from civic pride. A great number of ecclesiastical buildings remain from this period, of which even the smallest are often structures of architectural distinction while many of the larger churches are considered priceless works of art and are listed with UNESCO as World Heritage Sites. For this reason a study of Gothic architecture is largely a study of cathedrals and churches. | What continent is it most prevalent? | {
"answer_start": [
513
],
"text": [
"Gothic architecture is most familiar as the architecture of many of the great cathedrals, abbeys and churches of Europe"
]
} |
3u84xhcdicdb6vqtlfud7syhk5jz4f | Gothic architecture is a style of architecture that flourished during the high and late medieval period. It evolved from Romanesque architecture and was succeeded by Renaissance architecture. Originating in 12th-century France and lasting into the 16th century, Gothic architecture was known during the period as Opus Francigenum ("French work") with the term Gothic first appearing during the later part of the Renaissance. Its characteristics include the pointed arch, the ribbed vault and the flying buttress. Gothic architecture is most familiar as the architecture of many of the great cathedrals, abbeys and churches of Europe. It is also the architecture of many castles, palaces, town halls, guild halls, universities and to a less prominent extent, private dwellings, such as dorms and rooms.
It is in the great churches and cathedrals and in a number of civic buildings that the Gothic style was expressed most powerfully, its characteristics lending themselves to appeals to the emotions, whether springing from faith or from civic pride. A great number of ecclesiastical buildings remain from this period, of which even the smallest are often structures of architectural distinction while many of the larger churches are considered priceless works of art and are listed with UNESCO as World Heritage Sites. For this reason a study of Gothic architecture is largely a study of cathedrals and churches. | Is it in churches there? | {
"answer_start": [
614
],
"text": [
"churches of Europe"
]
} |
3u84xhcdicdb6vqtlfud7syhk5jz4f | Gothic architecture is a style of architecture that flourished during the high and late medieval period. It evolved from Romanesque architecture and was succeeded by Renaissance architecture. Originating in 12th-century France and lasting into the 16th century, Gothic architecture was known during the period as Opus Francigenum ("French work") with the term Gothic first appearing during the later part of the Renaissance. Its characteristics include the pointed arch, the ribbed vault and the flying buttress. Gothic architecture is most familiar as the architecture of many of the great cathedrals, abbeys and churches of Europe. It is also the architecture of many castles, palaces, town halls, guild halls, universities and to a less prominent extent, private dwellings, such as dorms and rooms.
It is in the great churches and cathedrals and in a number of civic buildings that the Gothic style was expressed most powerfully, its characteristics lending themselves to appeals to the emotions, whether springing from faith or from civic pride. A great number of ecclesiastical buildings remain from this period, of which even the smallest are often structures of architectural distinction while many of the larger churches are considered priceless works of art and are listed with UNESCO as World Heritage Sites. For this reason a study of Gothic architecture is largely a study of cathedrals and churches. | What about cathedrals? | {
"answer_start": [
583
],
"text": [
"e great cathedrals"
]
} |
3u84xhcdicdb6vqtlfud7syhk5jz4f | Gothic architecture is a style of architecture that flourished during the high and late medieval period. It evolved from Romanesque architecture and was succeeded by Renaissance architecture. Originating in 12th-century France and lasting into the 16th century, Gothic architecture was known during the period as Opus Francigenum ("French work") with the term Gothic first appearing during the later part of the Renaissance. Its characteristics include the pointed arch, the ribbed vault and the flying buttress. Gothic architecture is most familiar as the architecture of many of the great cathedrals, abbeys and churches of Europe. It is also the architecture of many castles, palaces, town halls, guild halls, universities and to a less prominent extent, private dwellings, such as dorms and rooms.
It is in the great churches and cathedrals and in a number of civic buildings that the Gothic style was expressed most powerfully, its characteristics lending themselves to appeals to the emotions, whether springing from faith or from civic pride. A great number of ecclesiastical buildings remain from this period, of which even the smallest are often structures of architectural distinction while many of the larger churches are considered priceless works of art and are listed with UNESCO as World Heritage Sites. For this reason a study of Gothic architecture is largely a study of cathedrals and churches. | What kind of buildings are still around from that time? | {
"answer_start": [
664
],
"text": [
" many castles, palaces, town halls, guild halls, universities and to a less prominent extent, private dwellings, such as dorms and rooms"
]
} |
3u84xhcdicdb6vqtlfud7syhk5jz4f | Gothic architecture is a style of architecture that flourished during the high and late medieval period. It evolved from Romanesque architecture and was succeeded by Renaissance architecture. Originating in 12th-century France and lasting into the 16th century, Gothic architecture was known during the period as Opus Francigenum ("French work") with the term Gothic first appearing during the later part of the Renaissance. Its characteristics include the pointed arch, the ribbed vault and the flying buttress. Gothic architecture is most familiar as the architecture of many of the great cathedrals, abbeys and churches of Europe. It is also the architecture of many castles, palaces, town halls, guild halls, universities and to a less prominent extent, private dwellings, such as dorms and rooms.
It is in the great churches and cathedrals and in a number of civic buildings that the Gothic style was expressed most powerfully, its characteristics lending themselves to appeals to the emotions, whether springing from faith or from civic pride. A great number of ecclesiastical buildings remain from this period, of which even the smallest are often structures of architectural distinction while many of the larger churches are considered priceless works of art and are listed with UNESCO as World Heritage Sites. For this reason a study of Gothic architecture is largely a study of cathedrals and churches. | What organization lists some of the churches? | {
"answer_start": [
1273
],
"text": [
"are listed with UNESCO as World Heritage Site"
]
} |
3u84xhcdicdb6vqtlfud7syhk5jz4f | Gothic architecture is a style of architecture that flourished during the high and late medieval period. It evolved from Romanesque architecture and was succeeded by Renaissance architecture. Originating in 12th-century France and lasting into the 16th century, Gothic architecture was known during the period as Opus Francigenum ("French work") with the term Gothic first appearing during the later part of the Renaissance. Its characteristics include the pointed arch, the ribbed vault and the flying buttress. Gothic architecture is most familiar as the architecture of many of the great cathedrals, abbeys and churches of Europe. It is also the architecture of many castles, palaces, town halls, guild halls, universities and to a less prominent extent, private dwellings, such as dorms and rooms.
It is in the great churches and cathedrals and in a number of civic buildings that the Gothic style was expressed most powerfully, its characteristics lending themselves to appeals to the emotions, whether springing from faith or from civic pride. A great number of ecclesiastical buildings remain from this period, of which even the smallest are often structures of architectural distinction while many of the larger churches are considered priceless works of art and are listed with UNESCO as World Heritage Sites. For this reason a study of Gothic architecture is largely a study of cathedrals and churches. | As what? | {
"answer_start": [
1289
],
"text": [
"UNESCO as World Heritage Sites"
]
} |
3u84xhcdicdb6vqtlfud7syhk5jz4f | Gothic architecture is a style of architecture that flourished during the high and late medieval period. It evolved from Romanesque architecture and was succeeded by Renaissance architecture. Originating in 12th-century France and lasting into the 16th century, Gothic architecture was known during the period as Opus Francigenum ("French work") with the term Gothic first appearing during the later part of the Renaissance. Its characteristics include the pointed arch, the ribbed vault and the flying buttress. Gothic architecture is most familiar as the architecture of many of the great cathedrals, abbeys and churches of Europe. It is also the architecture of many castles, palaces, town halls, guild halls, universities and to a less prominent extent, private dwellings, such as dorms and rooms.
It is in the great churches and cathedrals and in a number of civic buildings that the Gothic style was expressed most powerfully, its characteristics lending themselves to appeals to the emotions, whether springing from faith or from civic pride. A great number of ecclesiastical buildings remain from this period, of which even the smallest are often structures of architectural distinction while many of the larger churches are considered priceless works of art and are listed with UNESCO as World Heritage Sites. For this reason a study of Gothic architecture is largely a study of cathedrals and churches. | What do people think of them as? | {
"answer_start": [
1234
],
"text": [
" considered priceless works of art"
]
} |
3u84xhcdicdb6vqtlfud7syhk5jz4f | Gothic architecture is a style of architecture that flourished during the high and late medieval period. It evolved from Romanesque architecture and was succeeded by Renaissance architecture. Originating in 12th-century France and lasting into the 16th century, Gothic architecture was known during the period as Opus Francigenum ("French work") with the term Gothic first appearing during the later part of the Renaissance. Its characteristics include the pointed arch, the ribbed vault and the flying buttress. Gothic architecture is most familiar as the architecture of many of the great cathedrals, abbeys and churches of Europe. It is also the architecture of many castles, palaces, town halls, guild halls, universities and to a less prominent extent, private dwellings, such as dorms and rooms.
It is in the great churches and cathedrals and in a number of civic buildings that the Gothic style was expressed most powerfully, its characteristics lending themselves to appeals to the emotions, whether springing from faith or from civic pride. A great number of ecclesiastical buildings remain from this period, of which even the smallest are often structures of architectural distinction while many of the larger churches are considered priceless works of art and are listed with UNESCO as World Heritage Sites. For this reason a study of Gothic architecture is largely a study of cathedrals and churches. | How many are left? | {
"answer_start": [
1052
],
"text": [
"A great number"
]
} |
3u84xhcdicdb6vqtlfud7syhk5jz4f | Gothic architecture is a style of architecture that flourished during the high and late medieval period. It evolved from Romanesque architecture and was succeeded by Renaissance architecture. Originating in 12th-century France and lasting into the 16th century, Gothic architecture was known during the period as Opus Francigenum ("French work") with the term Gothic first appearing during the later part of the Renaissance. Its characteristics include the pointed arch, the ribbed vault and the flying buttress. Gothic architecture is most familiar as the architecture of many of the great cathedrals, abbeys and churches of Europe. It is also the architecture of many castles, palaces, town halls, guild halls, universities and to a less prominent extent, private dwellings, such as dorms and rooms.
It is in the great churches and cathedrals and in a number of civic buildings that the Gothic style was expressed most powerfully, its characteristics lending themselves to appeals to the emotions, whether springing from faith or from civic pride. A great number of ecclesiastical buildings remain from this period, of which even the smallest are often structures of architectural distinction while many of the larger churches are considered priceless works of art and are listed with UNESCO as World Heritage Sites. For this reason a study of Gothic architecture is largely a study of cathedrals and churches. | Are they all big? | {
"answer_start": [
1129
],
"text": [
"even the smallest"
]
} |
3u84xhcdicdb6vqtlfud7syhk5jz4f | Gothic architecture is a style of architecture that flourished during the high and late medieval period. It evolved from Romanesque architecture and was succeeded by Renaissance architecture. Originating in 12th-century France and lasting into the 16th century, Gothic architecture was known during the period as Opus Francigenum ("French work") with the term Gothic first appearing during the later part of the Renaissance. Its characteristics include the pointed arch, the ribbed vault and the flying buttress. Gothic architecture is most familiar as the architecture of many of the great cathedrals, abbeys and churches of Europe. It is also the architecture of many castles, palaces, town halls, guild halls, universities and to a less prominent extent, private dwellings, such as dorms and rooms.
It is in the great churches and cathedrals and in a number of civic buildings that the Gothic style was expressed most powerfully, its characteristics lending themselves to appeals to the emotions, whether springing from faith or from civic pride. A great number of ecclesiastical buildings remain from this period, of which even the smallest are often structures of architectural distinction while many of the larger churches are considered priceless works of art and are listed with UNESCO as World Heritage Sites. For this reason a study of Gothic architecture is largely a study of cathedrals and churches. | Are the small ones important? | {
"answer_start": [
1129
],
"text": [
"even the smallest are often structures of architectural distinction"
]
} |
3u84xhcdicdb6vqtlfud7syhk5jz4f | Gothic architecture is a style of architecture that flourished during the high and late medieval period. It evolved from Romanesque architecture and was succeeded by Renaissance architecture. Originating in 12th-century France and lasting into the 16th century, Gothic architecture was known during the period as Opus Francigenum ("French work") with the term Gothic first appearing during the later part of the Renaissance. Its characteristics include the pointed arch, the ribbed vault and the flying buttress. Gothic architecture is most familiar as the architecture of many of the great cathedrals, abbeys and churches of Europe. It is also the architecture of many castles, palaces, town halls, guild halls, universities and to a less prominent extent, private dwellings, such as dorms and rooms.
It is in the great churches and cathedrals and in a number of civic buildings that the Gothic style was expressed most powerfully, its characteristics lending themselves to appeals to the emotions, whether springing from faith or from civic pride. A great number of ecclesiastical buildings remain from this period, of which even the smallest are often structures of architectural distinction while many of the larger churches are considered priceless works of art and are listed with UNESCO as World Heritage Sites. For this reason a study of Gothic architecture is largely a study of cathedrals and churches. | Is the flying buttress considered Gothic? | {
"answer_start": [
423
],
"text": [
". Its characteristics include the pointed arch, the ribbed vault and the flying buttress"
]
} |
3u84xhcdicdb6vqtlfud7syhk5jz4f | Gothic architecture is a style of architecture that flourished during the high and late medieval period. It evolved from Romanesque architecture and was succeeded by Renaissance architecture. Originating in 12th-century France and lasting into the 16th century, Gothic architecture was known during the period as Opus Francigenum ("French work") with the term Gothic first appearing during the later part of the Renaissance. Its characteristics include the pointed arch, the ribbed vault and the flying buttress. Gothic architecture is most familiar as the architecture of many of the great cathedrals, abbeys and churches of Europe. It is also the architecture of many castles, palaces, town halls, guild halls, universities and to a less prominent extent, private dwellings, such as dorms and rooms.
It is in the great churches and cathedrals and in a number of civic buildings that the Gothic style was expressed most powerfully, its characteristics lending themselves to appeals to the emotions, whether springing from faith or from civic pride. A great number of ecclesiastical buildings remain from this period, of which even the smallest are often structures of architectural distinction while many of the larger churches are considered priceless works of art and are listed with UNESCO as World Heritage Sites. For this reason a study of Gothic architecture is largely a study of cathedrals and churches. | What's another characteristic? | {
"answer_start": [
426
],
"text": [
"ts characteristics include the pointed arch, the ribbed vault"
]
} |
3qilpralq5vi87zcuu9wth7dbh3n8w | The turtle and the fox were best friends. One day Turtle wanted to find Fox and ask if he would come fishing with him. Turtle went to foxes house. Fox was not home. Turtle went to look for Fox. Fox lived near several friends. Turtle went to Bear's house first. Bear lived next door to Fox. Bear answered the door, but Fox wasn't there. Turtle went to Duck's house next. Duck lived next door to Bear. Duck answered the door, but Fox wasn't there. Turtle went to Goose's house next. Goose answered the door, but Fox wasn't there. Finally, Turtle stopped at Rabbit's house. Rabbit wasn't home, and Fox wasn't there. Turtle was sad because he wanted to go fishing with his friend. He walked slowly toward the stream to go fishing by himself. When he got to the stream, he found Fox and Rabbit were there. They were fishing. They asked Turtle to join them. Turtle was very happy that he had found Fox, and he joined them for a fun afternoon of fishing in the stream. | Who was Turtle friends with? | {
"answer_start": [
0
],
"text": [
"The turtle and the fox were best friends"
]
} |
3qilpralq5vi87zcuu9wth7dbh3n8w | The turtle and the fox were best friends. One day Turtle wanted to find Fox and ask if he would come fishing with him. Turtle went to foxes house. Fox was not home. Turtle went to look for Fox. Fox lived near several friends. Turtle went to Bear's house first. Bear lived next door to Fox. Bear answered the door, but Fox wasn't there. Turtle went to Duck's house next. Duck lived next door to Bear. Duck answered the door, but Fox wasn't there. Turtle went to Goose's house next. Goose answered the door, but Fox wasn't there. Finally, Turtle stopped at Rabbit's house. Rabbit wasn't home, and Fox wasn't there. Turtle was sad because he wanted to go fishing with his friend. He walked slowly toward the stream to go fishing by himself. When he got to the stream, he found Fox and Rabbit were there. They were fishing. They asked Turtle to join them. Turtle was very happy that he had found Fox, and he joined them for a fun afternoon of fishing in the stream. | What did Turtle want to do with him? | {
"answer_start": [
636
],
"text": [
"he wanted to go fishing"
]
} |
3qilpralq5vi87zcuu9wth7dbh3n8w | The turtle and the fox were best friends. One day Turtle wanted to find Fox and ask if he would come fishing with him. Turtle went to foxes house. Fox was not home. Turtle went to look for Fox. Fox lived near several friends. Turtle went to Bear's house first. Bear lived next door to Fox. Bear answered the door, but Fox wasn't there. Turtle went to Duck's house next. Duck lived next door to Bear. Duck answered the door, but Fox wasn't there. Turtle went to Goose's house next. Goose answered the door, but Fox wasn't there. Finally, Turtle stopped at Rabbit's house. Rabbit wasn't home, and Fox wasn't there. Turtle was sad because he wanted to go fishing with his friend. He walked slowly toward the stream to go fishing by himself. When he got to the stream, he found Fox and Rabbit were there. They were fishing. They asked Turtle to join them. Turtle was very happy that he had found Fox, and he joined them for a fun afternoon of fishing in the stream. | Where did Turtle find him? | {
"answer_start": [
738
],
"text": [
"When he got to the stream, he found Fox and Rabbit were there"
]
} |
3qilpralq5vi87zcuu9wth7dbh3n8w | The turtle and the fox were best friends. One day Turtle wanted to find Fox and ask if he would come fishing with him. Turtle went to foxes house. Fox was not home. Turtle went to look for Fox. Fox lived near several friends. Turtle went to Bear's house first. Bear lived next door to Fox. Bear answered the door, but Fox wasn't there. Turtle went to Duck's house next. Duck lived next door to Bear. Duck answered the door, but Fox wasn't there. Turtle went to Goose's house next. Goose answered the door, but Fox wasn't there. Finally, Turtle stopped at Rabbit's house. Rabbit wasn't home, and Fox wasn't there. Turtle was sad because he wanted to go fishing with his friend. He walked slowly toward the stream to go fishing by himself. When he got to the stream, he found Fox and Rabbit were there. They were fishing. They asked Turtle to join them. Turtle was very happy that he had found Fox, and he joined them for a fun afternoon of fishing in the stream. | Who was he with? | {
"answer_start": [
773
],
"text": [
" Fox and Rabbit were there"
]
} |
3qilpralq5vi87zcuu9wth7dbh3n8w | The turtle and the fox were best friends. One day Turtle wanted to find Fox and ask if he would come fishing with him. Turtle went to foxes house. Fox was not home. Turtle went to look for Fox. Fox lived near several friends. Turtle went to Bear's house first. Bear lived next door to Fox. Bear answered the door, but Fox wasn't there. Turtle went to Duck's house next. Duck lived next door to Bear. Duck answered the door, but Fox wasn't there. Turtle went to Goose's house next. Goose answered the door, but Fox wasn't there. Finally, Turtle stopped at Rabbit's house. Rabbit wasn't home, and Fox wasn't there. Turtle was sad because he wanted to go fishing with his friend. He walked slowly toward the stream to go fishing by himself. When he got to the stream, he found Fox and Rabbit were there. They were fishing. They asked Turtle to join them. Turtle was very happy that he had found Fox, and he joined them for a fun afternoon of fishing in the stream. | What were they doing? | {
"answer_start": [
801
],
"text": [
"They were fishing. "
]
} |
3qilpralq5vi87zcuu9wth7dbh3n8w | The turtle and the fox were best friends. One day Turtle wanted to find Fox and ask if he would come fishing with him. Turtle went to foxes house. Fox was not home. Turtle went to look for Fox. Fox lived near several friends. Turtle went to Bear's house first. Bear lived next door to Fox. Bear answered the door, but Fox wasn't there. Turtle went to Duck's house next. Duck lived next door to Bear. Duck answered the door, but Fox wasn't there. Turtle went to Goose's house next. Goose answered the door, but Fox wasn't there. Finally, Turtle stopped at Rabbit's house. Rabbit wasn't home, and Fox wasn't there. Turtle was sad because he wanted to go fishing with his friend. He walked slowly toward the stream to go fishing by himself. When he got to the stream, he found Fox and Rabbit were there. They were fishing. They asked Turtle to join them. Turtle was very happy that he had found Fox, and he joined them for a fun afternoon of fishing in the stream. | Where did Turtle look for Fox first? | {
"answer_start": [
119
],
"text": [
"Turtle went to foxes house. "
]
} |
3qilpralq5vi87zcuu9wth7dbh3n8w | The turtle and the fox were best friends. One day Turtle wanted to find Fox and ask if he would come fishing with him. Turtle went to foxes house. Fox was not home. Turtle went to look for Fox. Fox lived near several friends. Turtle went to Bear's house first. Bear lived next door to Fox. Bear answered the door, but Fox wasn't there. Turtle went to Duck's house next. Duck lived next door to Bear. Duck answered the door, but Fox wasn't there. Turtle went to Goose's house next. Goose answered the door, but Fox wasn't there. Finally, Turtle stopped at Rabbit's house. Rabbit wasn't home, and Fox wasn't there. Turtle was sad because he wanted to go fishing with his friend. He walked slowly toward the stream to go fishing by himself. When he got to the stream, he found Fox and Rabbit were there. They were fishing. They asked Turtle to join them. Turtle was very happy that he had found Fox, and he joined them for a fun afternoon of fishing in the stream. | Where did he check next? | {
"answer_start": [
226
],
"text": [
"Turtle went to Bear's house first."
]
} |
3qilpralq5vi87zcuu9wth7dbh3n8w | The turtle and the fox were best friends. One day Turtle wanted to find Fox and ask if he would come fishing with him. Turtle went to foxes house. Fox was not home. Turtle went to look for Fox. Fox lived near several friends. Turtle went to Bear's house first. Bear lived next door to Fox. Bear answered the door, but Fox wasn't there. Turtle went to Duck's house next. Duck lived next door to Bear. Duck answered the door, but Fox wasn't there. Turtle went to Goose's house next. Goose answered the door, but Fox wasn't there. Finally, Turtle stopped at Rabbit's house. Rabbit wasn't home, and Fox wasn't there. Turtle was sad because he wanted to go fishing with his friend. He walked slowly toward the stream to go fishing by himself. When he got to the stream, he found Fox and Rabbit were there. They were fishing. They asked Turtle to join them. Turtle was very happy that he had found Fox, and he joined them for a fun afternoon of fishing in the stream. | Who lives two doors down from him? | {
"answer_start": [
336
],
"text": [
"Turtle went to Duck's house next. Duck lived next door to Bear. "
]
} |
3qilpralq5vi87zcuu9wth7dbh3n8w | The turtle and the fox were best friends. One day Turtle wanted to find Fox and ask if he would come fishing with him. Turtle went to foxes house. Fox was not home. Turtle went to look for Fox. Fox lived near several friends. Turtle went to Bear's house first. Bear lived next door to Fox. Bear answered the door, but Fox wasn't there. Turtle went to Duck's house next. Duck lived next door to Bear. Duck answered the door, but Fox wasn't there. Turtle went to Goose's house next. Goose answered the door, but Fox wasn't there. Finally, Turtle stopped at Rabbit's house. Rabbit wasn't home, and Fox wasn't there. Turtle was sad because he wanted to go fishing with his friend. He walked slowly toward the stream to go fishing by himself. When he got to the stream, he found Fox and Rabbit were there. They were fishing. They asked Turtle to join them. Turtle was very happy that he had found Fox, and he joined them for a fun afternoon of fishing in the stream. | Who lives next to him? | {
"answer_start": [
370
],
"text": [
"Duck lived next door to Bear"
]
} |
3qilpralq5vi87zcuu9wth7dbh3n8w | The turtle and the fox were best friends. One day Turtle wanted to find Fox and ask if he would come fishing with him. Turtle went to foxes house. Fox was not home. Turtle went to look for Fox. Fox lived near several friends. Turtle went to Bear's house first. Bear lived next door to Fox. Bear answered the door, but Fox wasn't there. Turtle went to Duck's house next. Duck lived next door to Bear. Duck answered the door, but Fox wasn't there. Turtle went to Goose's house next. Goose answered the door, but Fox wasn't there. Finally, Turtle stopped at Rabbit's house. Rabbit wasn't home, and Fox wasn't there. Turtle was sad because he wanted to go fishing with his friend. He walked slowly toward the stream to go fishing by himself. When he got to the stream, he found Fox and Rabbit were there. They were fishing. They asked Turtle to join them. Turtle was very happy that he had found Fox, and he joined them for a fun afternoon of fishing in the stream. | Where did Turtle check last? | {
"answer_start": [
528
],
"text": [
"Finally, Turtle stopped at Rabbit's house"
]
} |
3tvrfo09gkfiz8xzqp59wokhxv8lxw | In a big forest lived a fox named Manny. He was having a fun morning. Dad had given him a cookie as a snack and it was yummy! Now he was wandering through the woods, looking for an adventure. After a little bit he came across a frog sitting on a log. They looked at each other, but did not say anything. Manny spoke first. "Hi there, my name is Manny and I'm a fox. Who are you?" The frog on the log didn't answer at first. He finally said, "My name is Tony and I'm a frog. My brother could beat you up." Manny was very surprised to hear this. First, why would a frog's brother want to fight him? Second, how could some little frog beat him up? Manny told Tony he didn't think he would want to fight his brother because he would hurt him. Tony jumped off the log and hopped away, shouting over his shoulder, "You're a liar! My brother can beat up anyone!" As the frog went away, Manny was very confused. He didn't want to hurt anyone's feelings, but the frog was sad because of what Manny said. Manny also did not like to be called a liar, so he ran after the frog. He soon found out that Tony's brother was not from the same mother. His brother was a brown bear named Greg. After taking a good look at Greg, Manny said yes, Greg could beat up anyone he chose. After that day all three of them became close friends. | Was the forest big? | {
"answer_start": [
0
],
"text": [
"In a big forest"
]
} |
3tvrfo09gkfiz8xzqp59wokhxv8lxw | In a big forest lived a fox named Manny. He was having a fun morning. Dad had given him a cookie as a snack and it was yummy! Now he was wandering through the woods, looking for an adventure. After a little bit he came across a frog sitting on a log. They looked at each other, but did not say anything. Manny spoke first. "Hi there, my name is Manny and I'm a fox. Who are you?" The frog on the log didn't answer at first. He finally said, "My name is Tony and I'm a frog. My brother could beat you up." Manny was very surprised to hear this. First, why would a frog's brother want to fight him? Second, how could some little frog beat him up? Manny told Tony he didn't think he would want to fight his brother because he would hurt him. Tony jumped off the log and hopped away, shouting over his shoulder, "You're a liar! My brother can beat up anyone!" As the frog went away, Manny was very confused. He didn't want to hurt anyone's feelings, but the frog was sad because of what Manny said. Manny also did not like to be called a liar, so he ran after the frog. He soon found out that Tony's brother was not from the same mother. His brother was a brown bear named Greg. After taking a good look at Greg, Manny said yes, Greg could beat up anyone he chose. After that day all three of them became close friends. | What is the fox who lived there's name? | {
"answer_start": [
22
],
"text": [
"a fox named Manny"
]
} |
3tvrfo09gkfiz8xzqp59wokhxv8lxw | In a big forest lived a fox named Manny. He was having a fun morning. Dad had given him a cookie as a snack and it was yummy! Now he was wandering through the woods, looking for an adventure. After a little bit he came across a frog sitting on a log. They looked at each other, but did not say anything. Manny spoke first. "Hi there, my name is Manny and I'm a fox. Who are you?" The frog on the log didn't answer at first. He finally said, "My name is Tony and I'm a frog. My brother could beat you up." Manny was very surprised to hear this. First, why would a frog's brother want to fight him? Second, how could some little frog beat him up? Manny told Tony he didn't think he would want to fight his brother because he would hurt him. Tony jumped off the log and hopped away, shouting over his shoulder, "You're a liar! My brother can beat up anyone!" As the frog went away, Manny was very confused. He didn't want to hurt anyone's feelings, but the frog was sad because of what Manny said. Manny also did not like to be called a liar, so he ran after the frog. He soon found out that Tony's brother was not from the same mother. His brother was a brown bear named Greg. After taking a good look at Greg, Manny said yes, Greg could beat up anyone he chose. After that day all three of them became close friends. | What time of day was it? | {
"answer_start": [
41
],
"text": [
"He was having a fun morning"
]
} |
3tvrfo09gkfiz8xzqp59wokhxv8lxw | In a big forest lived a fox named Manny. He was having a fun morning. Dad had given him a cookie as a snack and it was yummy! Now he was wandering through the woods, looking for an adventure. After a little bit he came across a frog sitting on a log. They looked at each other, but did not say anything. Manny spoke first. "Hi there, my name is Manny and I'm a fox. Who are you?" The frog on the log didn't answer at first. He finally said, "My name is Tony and I'm a frog. My brother could beat you up." Manny was very surprised to hear this. First, why would a frog's brother want to fight him? Second, how could some little frog beat him up? Manny told Tony he didn't think he would want to fight his brother because he would hurt him. Tony jumped off the log and hopped away, shouting over his shoulder, "You're a liar! My brother can beat up anyone!" As the frog went away, Manny was very confused. He didn't want to hurt anyone's feelings, but the frog was sad because of what Manny said. Manny also did not like to be called a liar, so he ran after the frog. He soon found out that Tony's brother was not from the same mother. His brother was a brown bear named Greg. After taking a good look at Greg, Manny said yes, Greg could beat up anyone he chose. After that day all three of them became close friends. | What did his dad give him as a snack? | {
"answer_start": [
70
],
"text": [
"Dad had given him a cookie as a snack"
]
} |
3tvrfo09gkfiz8xzqp59wokhxv8lxw | In a big forest lived a fox named Manny. He was having a fun morning. Dad had given him a cookie as a snack and it was yummy! Now he was wandering through the woods, looking for an adventure. After a little bit he came across a frog sitting on a log. They looked at each other, but did not say anything. Manny spoke first. "Hi there, my name is Manny and I'm a fox. Who are you?" The frog on the log didn't answer at first. He finally said, "My name is Tony and I'm a frog. My brother could beat you up." Manny was very surprised to hear this. First, why would a frog's brother want to fight him? Second, how could some little frog beat him up? Manny told Tony he didn't think he would want to fight his brother because he would hurt him. Tony jumped off the log and hopped away, shouting over his shoulder, "You're a liar! My brother can beat up anyone!" As the frog went away, Manny was very confused. He didn't want to hurt anyone's feelings, but the frog was sad because of what Manny said. Manny also did not like to be called a liar, so he ran after the frog. He soon found out that Tony's brother was not from the same mother. His brother was a brown bear named Greg. After taking a good look at Greg, Manny said yes, Greg could beat up anyone he chose. After that day all three of them became close friends. | Did he enjoy it? | {
"answer_start": [
108
],
"text": [
"and it was yummy!"
]
} |
3tvrfo09gkfiz8xzqp59wokhxv8lxw | In a big forest lived a fox named Manny. He was having a fun morning. Dad had given him a cookie as a snack and it was yummy! Now he was wandering through the woods, looking for an adventure. After a little bit he came across a frog sitting on a log. They looked at each other, but did not say anything. Manny spoke first. "Hi there, my name is Manny and I'm a fox. Who are you?" The frog on the log didn't answer at first. He finally said, "My name is Tony and I'm a frog. My brother could beat you up." Manny was very surprised to hear this. First, why would a frog's brother want to fight him? Second, how could some little frog beat him up? Manny told Tony he didn't think he would want to fight his brother because he would hurt him. Tony jumped off the log and hopped away, shouting over his shoulder, "You're a liar! My brother can beat up anyone!" As the frog went away, Manny was very confused. He didn't want to hurt anyone's feelings, but the frog was sad because of what Manny said. Manny also did not like to be called a liar, so he ran after the frog. He soon found out that Tony's brother was not from the same mother. His brother was a brown bear named Greg. After taking a good look at Greg, Manny said yes, Greg could beat up anyone he chose. After that day all three of them became close friends. | When he wandered through the woods what was he looking for? | {
"answer_start": [
126
],
"text": [
"Now he was wandering through the woods, looking for an adventure"
]
} |
3tvrfo09gkfiz8xzqp59wokhxv8lxw | In a big forest lived a fox named Manny. He was having a fun morning. Dad had given him a cookie as a snack and it was yummy! Now he was wandering through the woods, looking for an adventure. After a little bit he came across a frog sitting on a log. They looked at each other, but did not say anything. Manny spoke first. "Hi there, my name is Manny and I'm a fox. Who are you?" The frog on the log didn't answer at first. He finally said, "My name is Tony and I'm a frog. My brother could beat you up." Manny was very surprised to hear this. First, why would a frog's brother want to fight him? Second, how could some little frog beat him up? Manny told Tony he didn't think he would want to fight his brother because he would hurt him. Tony jumped off the log and hopped away, shouting over his shoulder, "You're a liar! My brother can beat up anyone!" As the frog went away, Manny was very confused. He didn't want to hurt anyone's feelings, but the frog was sad because of what Manny said. Manny also did not like to be called a liar, so he ran after the frog. He soon found out that Tony's brother was not from the same mother. His brother was a brown bear named Greg. After taking a good look at Greg, Manny said yes, Greg could beat up anyone he chose. After that day all three of them became close friends. | Who did he meet? | {
"answer_start": [
191
],
"text": [
" After a little bit he came across a frog sitting on a log."
]
} |
3tvrfo09gkfiz8xzqp59wokhxv8lxw | In a big forest lived a fox named Manny. He was having a fun morning. Dad had given him a cookie as a snack and it was yummy! Now he was wandering through the woods, looking for an adventure. After a little bit he came across a frog sitting on a log. They looked at each other, but did not say anything. Manny spoke first. "Hi there, my name is Manny and I'm a fox. Who are you?" The frog on the log didn't answer at first. He finally said, "My name is Tony and I'm a frog. My brother could beat you up." Manny was very surprised to hear this. First, why would a frog's brother want to fight him? Second, how could some little frog beat him up? Manny told Tony he didn't think he would want to fight his brother because he would hurt him. Tony jumped off the log and hopped away, shouting over his shoulder, "You're a liar! My brother can beat up anyone!" As the frog went away, Manny was very confused. He didn't want to hurt anyone's feelings, but the frog was sad because of what Manny said. Manny also did not like to be called a liar, so he ran after the frog. He soon found out that Tony's brother was not from the same mother. His brother was a brown bear named Greg. After taking a good look at Greg, Manny said yes, Greg could beat up anyone he chose. After that day all three of them became close friends. | What was his name? | {
"answer_start": [
442
],
"text": [
"My name is Tony"
]
} |
3tvrfo09gkfiz8xzqp59wokhxv8lxw | In a big forest lived a fox named Manny. He was having a fun morning. Dad had given him a cookie as a snack and it was yummy! Now he was wandering through the woods, looking for an adventure. After a little bit he came across a frog sitting on a log. They looked at each other, but did not say anything. Manny spoke first. "Hi there, my name is Manny and I'm a fox. Who are you?" The frog on the log didn't answer at first. He finally said, "My name is Tony and I'm a frog. My brother could beat you up." Manny was very surprised to hear this. First, why would a frog's brother want to fight him? Second, how could some little frog beat him up? Manny told Tony he didn't think he would want to fight his brother because he would hurt him. Tony jumped off the log and hopped away, shouting over his shoulder, "You're a liar! My brother can beat up anyone!" As the frog went away, Manny was very confused. He didn't want to hurt anyone's feelings, but the frog was sad because of what Manny said. Manny also did not like to be called a liar, so he ran after the frog. He soon found out that Tony's brother was not from the same mother. His brother was a brown bear named Greg. After taking a good look at Greg, Manny said yes, Greg could beat up anyone he chose. After that day all three of them became close friends. | Did the frog say something mean to him? | {
"answer_start": [
441
],
"text": [
"\"My name is Tony and I'm a frog. My brother could beat you up."
]
} |
3tvrfo09gkfiz8xzqp59wokhxv8lxw | In a big forest lived a fox named Manny. He was having a fun morning. Dad had given him a cookie as a snack and it was yummy! Now he was wandering through the woods, looking for an adventure. After a little bit he came across a frog sitting on a log. They looked at each other, but did not say anything. Manny spoke first. "Hi there, my name is Manny and I'm a fox. Who are you?" The frog on the log didn't answer at first. He finally said, "My name is Tony and I'm a frog. My brother could beat you up." Manny was very surprised to hear this. First, why would a frog's brother want to fight him? Second, how could some little frog beat him up? Manny told Tony he didn't think he would want to fight his brother because he would hurt him. Tony jumped off the log and hopped away, shouting over his shoulder, "You're a liar! My brother can beat up anyone!" As the frog went away, Manny was very confused. He didn't want to hurt anyone's feelings, but the frog was sad because of what Manny said. Manny also did not like to be called a liar, so he ran after the frog. He soon found out that Tony's brother was not from the same mother. His brother was a brown bear named Greg. After taking a good look at Greg, Manny said yes, Greg could beat up anyone he chose. After that day all three of them became close friends. | What did he say? | {
"answer_start": [
474
],
"text": [
"My brother could beat you up"
]
} |
3tvrfo09gkfiz8xzqp59wokhxv8lxw | In a big forest lived a fox named Manny. He was having a fun morning. Dad had given him a cookie as a snack and it was yummy! Now he was wandering through the woods, looking for an adventure. After a little bit he came across a frog sitting on a log. They looked at each other, but did not say anything. Manny spoke first. "Hi there, my name is Manny and I'm a fox. Who are you?" The frog on the log didn't answer at first. He finally said, "My name is Tony and I'm a frog. My brother could beat you up." Manny was very surprised to hear this. First, why would a frog's brother want to fight him? Second, how could some little frog beat him up? Manny told Tony he didn't think he would want to fight his brother because he would hurt him. Tony jumped off the log and hopped away, shouting over his shoulder, "You're a liar! My brother can beat up anyone!" As the frog went away, Manny was very confused. He didn't want to hurt anyone's feelings, but the frog was sad because of what Manny said. Manny also did not like to be called a liar, so he ran after the frog. He soon found out that Tony's brother was not from the same mother. His brother was a brown bear named Greg. After taking a good look at Greg, Manny said yes, Greg could beat up anyone he chose. After that day all three of them became close friends. | Did manny want to fight? | {
"answer_start": [
645
],
"text": [
"Manny told Tony he didn't think he would want to fight his brother"
]
} |
3tvrfo09gkfiz8xzqp59wokhxv8lxw | In a big forest lived a fox named Manny. He was having a fun morning. Dad had given him a cookie as a snack and it was yummy! Now he was wandering through the woods, looking for an adventure. After a little bit he came across a frog sitting on a log. They looked at each other, but did not say anything. Manny spoke first. "Hi there, my name is Manny and I'm a fox. Who are you?" The frog on the log didn't answer at first. He finally said, "My name is Tony and I'm a frog. My brother could beat you up." Manny was very surprised to hear this. First, why would a frog's brother want to fight him? Second, how could some little frog beat him up? Manny told Tony he didn't think he would want to fight his brother because he would hurt him. Tony jumped off the log and hopped away, shouting over his shoulder, "You're a liar! My brother can beat up anyone!" As the frog went away, Manny was very confused. He didn't want to hurt anyone's feelings, but the frog was sad because of what Manny said. Manny also did not like to be called a liar, so he ran after the frog. He soon found out that Tony's brother was not from the same mother. His brother was a brown bear named Greg. After taking a good look at Greg, Manny said yes, Greg could beat up anyone he chose. After that day all three of them became close friends. | Why not? | {
"answer_start": [
720
],
"text": [
"he would hurt him"
]
} |
3tvrfo09gkfiz8xzqp59wokhxv8lxw | In a big forest lived a fox named Manny. He was having a fun morning. Dad had given him a cookie as a snack and it was yummy! Now he was wandering through the woods, looking for an adventure. After a little bit he came across a frog sitting on a log. They looked at each other, but did not say anything. Manny spoke first. "Hi there, my name is Manny and I'm a fox. Who are you?" The frog on the log didn't answer at first. He finally said, "My name is Tony and I'm a frog. My brother could beat you up." Manny was very surprised to hear this. First, why would a frog's brother want to fight him? Second, how could some little frog beat him up? Manny told Tony he didn't think he would want to fight his brother because he would hurt him. Tony jumped off the log and hopped away, shouting over his shoulder, "You're a liar! My brother can beat up anyone!" As the frog went away, Manny was very confused. He didn't want to hurt anyone's feelings, but the frog was sad because of what Manny said. Manny also did not like to be called a liar, so he ran after the frog. He soon found out that Tony's brother was not from the same mother. His brother was a brown bear named Greg. After taking a good look at Greg, Manny said yes, Greg could beat up anyone he chose. After that day all three of them became close friends. | Did the frog agree? | {
"answer_start": [
808
],
"text": [
"\"You're a liar! My brother can beat up anyone!"
]
} |
3tvrfo09gkfiz8xzqp59wokhxv8lxw | In a big forest lived a fox named Manny. He was having a fun morning. Dad had given him a cookie as a snack and it was yummy! Now he was wandering through the woods, looking for an adventure. After a little bit he came across a frog sitting on a log. They looked at each other, but did not say anything. Manny spoke first. "Hi there, my name is Manny and I'm a fox. Who are you?" The frog on the log didn't answer at first. He finally said, "My name is Tony and I'm a frog. My brother could beat you up." Manny was very surprised to hear this. First, why would a frog's brother want to fight him? Second, how could some little frog beat him up? Manny told Tony he didn't think he would want to fight his brother because he would hurt him. Tony jumped off the log and hopped away, shouting over his shoulder, "You're a liar! My brother can beat up anyone!" As the frog went away, Manny was very confused. He didn't want to hurt anyone's feelings, but the frog was sad because of what Manny said. Manny also did not like to be called a liar, so he ran after the frog. He soon found out that Tony's brother was not from the same mother. His brother was a brown bear named Greg. After taking a good look at Greg, Manny said yes, Greg could beat up anyone he chose. After that day all three of them became close friends. | What did he say about it? | {
"answer_start": [
809
],
"text": [
"You're a liar! My brother can beat up anyone"
]
} |
3tvrfo09gkfiz8xzqp59wokhxv8lxw | In a big forest lived a fox named Manny. He was having a fun morning. Dad had given him a cookie as a snack and it was yummy! Now he was wandering through the woods, looking for an adventure. After a little bit he came across a frog sitting on a log. They looked at each other, but did not say anything. Manny spoke first. "Hi there, my name is Manny and I'm a fox. Who are you?" The frog on the log didn't answer at first. He finally said, "My name is Tony and I'm a frog. My brother could beat you up." Manny was very surprised to hear this. First, why would a frog's brother want to fight him? Second, how could some little frog beat him up? Manny told Tony he didn't think he would want to fight his brother because he would hurt him. Tony jumped off the log and hopped away, shouting over his shoulder, "You're a liar! My brother can beat up anyone!" As the frog went away, Manny was very confused. He didn't want to hurt anyone's feelings, but the frog was sad because of what Manny said. Manny also did not like to be called a liar, so he ran after the frog. He soon found out that Tony's brother was not from the same mother. His brother was a brown bear named Greg. After taking a good look at Greg, Manny said yes, Greg could beat up anyone he chose. After that day all three of them became close friends. | did the frog go away? | {
"answer_start": [
856
],
"text": [
"As the frog went away"
]
} |
3tvrfo09gkfiz8xzqp59wokhxv8lxw | In a big forest lived a fox named Manny. He was having a fun morning. Dad had given him a cookie as a snack and it was yummy! Now he was wandering through the woods, looking for an adventure. After a little bit he came across a frog sitting on a log. They looked at each other, but did not say anything. Manny spoke first. "Hi there, my name is Manny and I'm a fox. Who are you?" The frog on the log didn't answer at first. He finally said, "My name is Tony and I'm a frog. My brother could beat you up." Manny was very surprised to hear this. First, why would a frog's brother want to fight him? Second, how could some little frog beat him up? Manny told Tony he didn't think he would want to fight his brother because he would hurt him. Tony jumped off the log and hopped away, shouting over his shoulder, "You're a liar! My brother can beat up anyone!" As the frog went away, Manny was very confused. He didn't want to hurt anyone's feelings, but the frog was sad because of what Manny said. Manny also did not like to be called a liar, so he ran after the frog. He soon found out that Tony's brother was not from the same mother. His brother was a brown bear named Greg. After taking a good look at Greg, Manny said yes, Greg could beat up anyone he chose. After that day all three of them became close friends. | What did Manny do? | {
"answer_start": [
1046
],
"text": [
"ran after the frog"
]
} |
3tvrfo09gkfiz8xzqp59wokhxv8lxw | In a big forest lived a fox named Manny. He was having a fun morning. Dad had given him a cookie as a snack and it was yummy! Now he was wandering through the woods, looking for an adventure. After a little bit he came across a frog sitting on a log. They looked at each other, but did not say anything. Manny spoke first. "Hi there, my name is Manny and I'm a fox. Who are you?" The frog on the log didn't answer at first. He finally said, "My name is Tony and I'm a frog. My brother could beat you up." Manny was very surprised to hear this. First, why would a frog's brother want to fight him? Second, how could some little frog beat him up? Manny told Tony he didn't think he would want to fight his brother because he would hurt him. Tony jumped off the log and hopped away, shouting over his shoulder, "You're a liar! My brother can beat up anyone!" As the frog went away, Manny was very confused. He didn't want to hurt anyone's feelings, but the frog was sad because of what Manny said. Manny also did not like to be called a liar, so he ran after the frog. He soon found out that Tony's brother was not from the same mother. His brother was a brown bear named Greg. After taking a good look at Greg, Manny said yes, Greg could beat up anyone he chose. After that day all three of them became close friends. | Did he find out anything about his brother? | {
"answer_start": [
1146
],
"text": [
"was a brown bear named Greg"
]
} |
3tvrfo09gkfiz8xzqp59wokhxv8lxw | In a big forest lived a fox named Manny. He was having a fun morning. Dad had given him a cookie as a snack and it was yummy! Now he was wandering through the woods, looking for an adventure. After a little bit he came across a frog sitting on a log. They looked at each other, but did not say anything. Manny spoke first. "Hi there, my name is Manny and I'm a fox. Who are you?" The frog on the log didn't answer at first. He finally said, "My name is Tony and I'm a frog. My brother could beat you up." Manny was very surprised to hear this. First, why would a frog's brother want to fight him? Second, how could some little frog beat him up? Manny told Tony he didn't think he would want to fight his brother because he would hurt him. Tony jumped off the log and hopped away, shouting over his shoulder, "You're a liar! My brother can beat up anyone!" As the frog went away, Manny was very confused. He didn't want to hurt anyone's feelings, but the frog was sad because of what Manny said. Manny also did not like to be called a liar, so he ran after the frog. He soon found out that Tony's brother was not from the same mother. His brother was a brown bear named Greg. After taking a good look at Greg, Manny said yes, Greg could beat up anyone he chose. After that day all three of them became close friends. | Did they all become friends? | {
"answer_start": [
1261
],
"text": [
"After that day all three of them became close friends"
]
} |
3lya37p8iqn02zcg0t1qsrgaqzqbk0 | CHAPTER XI
Newman, on his return to Paris, had not resumed the study of French conversation with M. Nioche; he found that he had too many other uses for his time. M. Nioche, however, came to see him very promptly, having learned his whereabouts by a mysterious process to which his patron never obtained the key. The shrunken little capitalist repeated his visit more than once. He seemed oppressed by a humiliating sense of having been overpaid, and wished apparently to redeem his debt by the offer of grammatical and statistical information in small installments. He wore the same decently melancholy aspect as a few months before; a few months more or less of brushing could make little difference in the antique lustre of his coat and hat. But the poor old man's spirit was a trifle more threadbare; it seemed to have received some hard rubs during the summer. Newman inquired with interest about Mademoiselle Noemie; and M. Nioche, at first, for answer, simply looked at him in lachrymose silence.
"Don't ask me, sir," he said at last. "I sit and watch her, but I can do nothing."
"Do you mean that she misconducts herself?"
"I don't know, I am sure. I can't follow her. I don't understand her. She has something in her head; I don't know what she is trying to do. She is too deep for me."
"Does she continue to go to the Louvre? Has she made any of those copies for me?"
"She goes to the Louvre, but I see nothing of the copies. She has something on her easel; I suppose it is one of the pictures you ordered. Such a magnificent order ought to give her fairy-fingers. But she is not in earnest. I can't say anything to her; I am afraid of her. One evening, last summer, when I took her to walk in the Champs Elysees, she said some things to me that frightened me." | who returned to Paris? | {
"answer_start": [
13
],
"text": [
"Newman, on his return to Paris"
]
} |
3lya37p8iqn02zcg0t1qsrgaqzqbk0 | CHAPTER XI
Newman, on his return to Paris, had not resumed the study of French conversation with M. Nioche; he found that he had too many other uses for his time. M. Nioche, however, came to see him very promptly, having learned his whereabouts by a mysterious process to which his patron never obtained the key. The shrunken little capitalist repeated his visit more than once. He seemed oppressed by a humiliating sense of having been overpaid, and wished apparently to redeem his debt by the offer of grammatical and statistical information in small installments. He wore the same decently melancholy aspect as a few months before; a few months more or less of brushing could make little difference in the antique lustre of his coat and hat. But the poor old man's spirit was a trifle more threadbare; it seemed to have received some hard rubs during the summer. Newman inquired with interest about Mademoiselle Noemie; and M. Nioche, at first, for answer, simply looked at him in lachrymose silence.
"Don't ask me, sir," he said at last. "I sit and watch her, but I can do nothing."
"Do you mean that she misconducts herself?"
"I don't know, I am sure. I can't follow her. I don't understand her. She has something in her head; I don't know what she is trying to do. She is too deep for me."
"Does she continue to go to the Louvre? Has she made any of those copies for me?"
"She goes to the Louvre, but I see nothing of the copies. She has something on her easel; I suppose it is one of the pictures you ordered. Such a magnificent order ought to give her fairy-fingers. But she is not in earnest. I can't say anything to her; I am afraid of her. One evening, last summer, when I took her to walk in the Champs Elysees, she said some things to me that frightened me." | did he continue his studies? | {
"answer_start": [
44
],
"text": [
" had not resumed the study of French conversation"
]
} |
3lya37p8iqn02zcg0t1qsrgaqzqbk0 | CHAPTER XI
Newman, on his return to Paris, had not resumed the study of French conversation with M. Nioche; he found that he had too many other uses for his time. M. Nioche, however, came to see him very promptly, having learned his whereabouts by a mysterious process to which his patron never obtained the key. The shrunken little capitalist repeated his visit more than once. He seemed oppressed by a humiliating sense of having been overpaid, and wished apparently to redeem his debt by the offer of grammatical and statistical information in small installments. He wore the same decently melancholy aspect as a few months before; a few months more or less of brushing could make little difference in the antique lustre of his coat and hat. But the poor old man's spirit was a trifle more threadbare; it seemed to have received some hard rubs during the summer. Newman inquired with interest about Mademoiselle Noemie; and M. Nioche, at first, for answer, simply looked at him in lachrymose silence.
"Don't ask me, sir," he said at last. "I sit and watch her, but I can do nothing."
"Do you mean that she misconducts herself?"
"I don't know, I am sure. I can't follow her. I don't understand her. She has something in her head; I don't know what she is trying to do. She is too deep for me."
"Does she continue to go to the Louvre? Has she made any of those copies for me?"
"She goes to the Louvre, but I see nothing of the copies. She has something on her easel; I suppose it is one of the pictures you ordered. Such a magnificent order ought to give her fairy-fingers. But she is not in earnest. I can't say anything to her; I am afraid of her. One evening, last summer, when I took her to walk in the Champs Elysees, she said some things to me that frightened me." | why not? | {
"answer_start": [
110
],
"text": [
"he found that he had too many other uses for his time"
]
} |
3lya37p8iqn02zcg0t1qsrgaqzqbk0 | CHAPTER XI
Newman, on his return to Paris, had not resumed the study of French conversation with M. Nioche; he found that he had too many other uses for his time. M. Nioche, however, came to see him very promptly, having learned his whereabouts by a mysterious process to which his patron never obtained the key. The shrunken little capitalist repeated his visit more than once. He seemed oppressed by a humiliating sense of having been overpaid, and wished apparently to redeem his debt by the offer of grammatical and statistical information in small installments. He wore the same decently melancholy aspect as a few months before; a few months more or less of brushing could make little difference in the antique lustre of his coat and hat. But the poor old man's spirit was a trifle more threadbare; it seemed to have received some hard rubs during the summer. Newman inquired with interest about Mademoiselle Noemie; and M. Nioche, at first, for answer, simply looked at him in lachrymose silence.
"Don't ask me, sir," he said at last. "I sit and watch her, but I can do nothing."
"Do you mean that she misconducts herself?"
"I don't know, I am sure. I can't follow her. I don't understand her. She has something in her head; I don't know what she is trying to do. She is too deep for me."
"Does she continue to go to the Louvre? Has she made any of those copies for me?"
"She goes to the Louvre, but I see nothing of the copies. She has something on her easel; I suppose it is one of the pictures you ordered. Such a magnificent order ought to give her fairy-fingers. But she is not in earnest. I can't say anything to her; I am afraid of her. One evening, last summer, when I took her to walk in the Champs Elysees, she said some things to me that frightened me." | what was he supposed to be studying? | {
"answer_start": [
61
],
"text": [
"the study of French conversation"
]
} |
3lya37p8iqn02zcg0t1qsrgaqzqbk0 | CHAPTER XI
Newman, on his return to Paris, had not resumed the study of French conversation with M. Nioche; he found that he had too many other uses for his time. M. Nioche, however, came to see him very promptly, having learned his whereabouts by a mysterious process to which his patron never obtained the key. The shrunken little capitalist repeated his visit more than once. He seemed oppressed by a humiliating sense of having been overpaid, and wished apparently to redeem his debt by the offer of grammatical and statistical information in small installments. He wore the same decently melancholy aspect as a few months before; a few months more or less of brushing could make little difference in the antique lustre of his coat and hat. But the poor old man's spirit was a trifle more threadbare; it seemed to have received some hard rubs during the summer. Newman inquired with interest about Mademoiselle Noemie; and M. Nioche, at first, for answer, simply looked at him in lachrymose silence.
"Don't ask me, sir," he said at last. "I sit and watch her, but I can do nothing."
"Do you mean that she misconducts herself?"
"I don't know, I am sure. I can't follow her. I don't understand her. She has something in her head; I don't know what she is trying to do. She is too deep for me."
"Does she continue to go to the Louvre? Has she made any of those copies for me?"
"She goes to the Louvre, but I see nothing of the copies. She has something on her easel; I suppose it is one of the pictures you ordered. Such a magnificent order ought to give her fairy-fingers. But she is not in earnest. I can't say anything to her; I am afraid of her. One evening, last summer, when I took her to walk in the Champs Elysees, she said some things to me that frightened me." | alone? | {
"answer_start": [
61
],
"text": [
"the study of French conversation with M. Nioche"
]
} |
3lya37p8iqn02zcg0t1qsrgaqzqbk0 | CHAPTER XI
Newman, on his return to Paris, had not resumed the study of French conversation with M. Nioche; he found that he had too many other uses for his time. M. Nioche, however, came to see him very promptly, having learned his whereabouts by a mysterious process to which his patron never obtained the key. The shrunken little capitalist repeated his visit more than once. He seemed oppressed by a humiliating sense of having been overpaid, and wished apparently to redeem his debt by the offer of grammatical and statistical information in small installments. He wore the same decently melancholy aspect as a few months before; a few months more or less of brushing could make little difference in the antique lustre of his coat and hat. But the poor old man's spirit was a trifle more threadbare; it seemed to have received some hard rubs during the summer. Newman inquired with interest about Mademoiselle Noemie; and M. Nioche, at first, for answer, simply looked at him in lachrymose silence.
"Don't ask me, sir," he said at last. "I sit and watch her, but I can do nothing."
"Do you mean that she misconducts herself?"
"I don't know, I am sure. I can't follow her. I don't understand her. She has something in her head; I don't know what she is trying to do. She is too deep for me."
"Does she continue to go to the Louvre? Has she made any of those copies for me?"
"She goes to the Louvre, but I see nothing of the copies. She has something on her easel; I suppose it is one of the pictures you ordered. Such a magnificent order ought to give her fairy-fingers. But she is not in earnest. I can't say anything to her; I am afraid of her. One evening, last summer, when I took her to walk in the Champs Elysees, she said some things to me that frightened me." | with who? | {
"answer_start": [
93
],
"text": [
" with M. Nioche"
]
} |
3lya37p8iqn02zcg0t1qsrgaqzqbk0 | CHAPTER XI
Newman, on his return to Paris, had not resumed the study of French conversation with M. Nioche; he found that he had too many other uses for his time. M. Nioche, however, came to see him very promptly, having learned his whereabouts by a mysterious process to which his patron never obtained the key. The shrunken little capitalist repeated his visit more than once. He seemed oppressed by a humiliating sense of having been overpaid, and wished apparently to redeem his debt by the offer of grammatical and statistical information in small installments. He wore the same decently melancholy aspect as a few months before; a few months more or less of brushing could make little difference in the antique lustre of his coat and hat. But the poor old man's spirit was a trifle more threadbare; it seemed to have received some hard rubs during the summer. Newman inquired with interest about Mademoiselle Noemie; and M. Nioche, at first, for answer, simply looked at him in lachrymose silence.
"Don't ask me, sir," he said at last. "I sit and watch her, but I can do nothing."
"Do you mean that she misconducts herself?"
"I don't know, I am sure. I can't follow her. I don't understand her. She has something in her head; I don't know what she is trying to do. She is too deep for me."
"Does she continue to go to the Louvre? Has she made any of those copies for me?"
"She goes to the Louvre, but I see nothing of the copies. She has something on her easel; I suppose it is one of the pictures you ordered. Such a magnificent order ought to give her fairy-fingers. But she is not in earnest. I can't say anything to her; I am afraid of her. One evening, last summer, when I took her to walk in the Champs Elysees, she said some things to me that frightened me." | did she visit him? | {
"answer_start": [
165
],
"text": [
"M. Nioche, however, came to see him very promptly"
]
} |
3lya37p8iqn02zcg0t1qsrgaqzqbk0 | CHAPTER XI
Newman, on his return to Paris, had not resumed the study of French conversation with M. Nioche; he found that he had too many other uses for his time. M. Nioche, however, came to see him very promptly, having learned his whereabouts by a mysterious process to which his patron never obtained the key. The shrunken little capitalist repeated his visit more than once. He seemed oppressed by a humiliating sense of having been overpaid, and wished apparently to redeem his debt by the offer of grammatical and statistical information in small installments. He wore the same decently melancholy aspect as a few months before; a few months more or less of brushing could make little difference in the antique lustre of his coat and hat. But the poor old man's spirit was a trifle more threadbare; it seemed to have received some hard rubs during the summer. Newman inquired with interest about Mademoiselle Noemie; and M. Nioche, at first, for answer, simply looked at him in lachrymose silence.
"Don't ask me, sir," he said at last. "I sit and watch her, but I can do nothing."
"Do you mean that she misconducts herself?"
"I don't know, I am sure. I can't follow her. I don't understand her. She has something in her head; I don't know what she is trying to do. She is too deep for me."
"Does she continue to go to the Louvre? Has she made any of those copies for me?"
"She goes to the Louvre, but I see nothing of the copies. She has something on her easel; I suppose it is one of the pictures you ordered. Such a magnificent order ought to give her fairy-fingers. But she is not in earnest. I can't say anything to her; I am afraid of her. One evening, last summer, when I took her to walk in the Champs Elysees, she said some things to me that frightened me." | where did someone talk a walk? | {
"answer_start": [
1705
],
"text": [
"to walk in the Champs Elysees"
]
} |
3lya37p8iqn02zcg0t1qsrgaqzqbk0 | CHAPTER XI
Newman, on his return to Paris, had not resumed the study of French conversation with M. Nioche; he found that he had too many other uses for his time. M. Nioche, however, came to see him very promptly, having learned his whereabouts by a mysterious process to which his patron never obtained the key. The shrunken little capitalist repeated his visit more than once. He seemed oppressed by a humiliating sense of having been overpaid, and wished apparently to redeem his debt by the offer of grammatical and statistical information in small installments. He wore the same decently melancholy aspect as a few months before; a few months more or less of brushing could make little difference in the antique lustre of his coat and hat. But the poor old man's spirit was a trifle more threadbare; it seemed to have received some hard rubs during the summer. Newman inquired with interest about Mademoiselle Noemie; and M. Nioche, at first, for answer, simply looked at him in lachrymose silence.
"Don't ask me, sir," he said at last. "I sit and watch her, but I can do nothing."
"Do you mean that she misconducts herself?"
"I don't know, I am sure. I can't follow her. I don't understand her. She has something in her head; I don't know what she is trying to do. She is too deep for me."
"Does she continue to go to the Louvre? Has she made any of those copies for me?"
"She goes to the Louvre, but I see nothing of the copies. She has something on her easel; I suppose it is one of the pictures you ordered. Such a magnificent order ought to give her fairy-fingers. But she is not in earnest. I can't say anything to her; I am afraid of her. One evening, last summer, when I took her to walk in the Champs Elysees, she said some things to me that frightened me." | in the morning? | {
"answer_start": [
1663
],
"text": [
"One evening"
]
} |
3lya37p8iqn02zcg0t1qsrgaqzqbk0 | CHAPTER XI
Newman, on his return to Paris, had not resumed the study of French conversation with M. Nioche; he found that he had too many other uses for his time. M. Nioche, however, came to see him very promptly, having learned his whereabouts by a mysterious process to which his patron never obtained the key. The shrunken little capitalist repeated his visit more than once. He seemed oppressed by a humiliating sense of having been overpaid, and wished apparently to redeem his debt by the offer of grammatical and statistical information in small installments. He wore the same decently melancholy aspect as a few months before; a few months more or less of brushing could make little difference in the antique lustre of his coat and hat. But the poor old man's spirit was a trifle more threadbare; it seemed to have received some hard rubs during the summer. Newman inquired with interest about Mademoiselle Noemie; and M. Nioche, at first, for answer, simply looked at him in lachrymose silence.
"Don't ask me, sir," he said at last. "I sit and watch her, but I can do nothing."
"Do you mean that she misconducts herself?"
"I don't know, I am sure. I can't follow her. I don't understand her. She has something in her head; I don't know what she is trying to do. She is too deep for me."
"Does she continue to go to the Louvre? Has she made any of those copies for me?"
"She goes to the Louvre, but I see nothing of the copies. She has something on her easel; I suppose it is one of the pictures you ordered. Such a magnificent order ought to give her fairy-fingers. But she is not in earnest. I can't say anything to her; I am afraid of her. One evening, last summer, when I took her to walk in the Champs Elysees, she said some things to me that frightened me." | in the winter? | {
"answer_start": [
1675
],
"text": [
" last summer"
]
} |
3n2bf7y2vqu5j0f5lxo2tfbcac4mh0 | (CNN) -- Portuguese football coach Jose Mourinho, ever the headline creator, has caused further outcry this week after he substituted Ghanaian midfielder Sulley Muntari from his Inter Milan side during their Italian Serie A clash with Bari.
Inter midfielder Sulley Muntari was substitued Jose Mourinho for his low-energy levels as a result of fasting.
Taking a tired player from the field of play was hardly breaking news, at least it wasn't until Mourinho revealed the move had been prompted because the player's perceived "low-energy levels" were as a result of fasting.
Muntari is a practicing Muslim who, like many of the same faith around the world, is currently not eating during the hours of daylight to mark the Ramadan holy period .Should fasting footballers be dropped by their managers? Sound Off below.
A discipline that clearly irked Mourinho who said in a post-match press conference: "Muntari had some problems related to Ramadan, perhaps with this heat it's not good for him to be doing this (fasting). Ramadan has not arrived at the ideal moment for a player to play a football match."
Muslim leaders in Italy have criticized the opinions of the coach known as the "Special One", but Mourinho did not rule out the possibility of dropping the player for the Milan derby between arch rivals Inter Milan and AC Milan this weekend for the same reason.
Click here to see our gallery of the top 10 Muslim football stars »
Elsewhere in Italy, fellow Muslim and Siena striker Abdelkader Ghezzal added to the debate by revealing he cannot fast and play at the same time. | What does Jose Mourinho do for a living? | {
"answer_start": [
9
],
"text": [
"Portuguese football coach"
]
} |
3n2bf7y2vqu5j0f5lxo2tfbcac4mh0 | (CNN) -- Portuguese football coach Jose Mourinho, ever the headline creator, has caused further outcry this week after he substituted Ghanaian midfielder Sulley Muntari from his Inter Milan side during their Italian Serie A clash with Bari.
Inter midfielder Sulley Muntari was substitued Jose Mourinho for his low-energy levels as a result of fasting.
Taking a tired player from the field of play was hardly breaking news, at least it wasn't until Mourinho revealed the move had been prompted because the player's perceived "low-energy levels" were as a result of fasting.
Muntari is a practicing Muslim who, like many of the same faith around the world, is currently not eating during the hours of daylight to mark the Ramadan holy period .Should fasting footballers be dropped by their managers? Sound Off below.
A discipline that clearly irked Mourinho who said in a post-match press conference: "Muntari had some problems related to Ramadan, perhaps with this heat it's not good for him to be doing this (fasting). Ramadan has not arrived at the ideal moment for a player to play a football match."
Muslim leaders in Italy have criticized the opinions of the coach known as the "Special One", but Mourinho did not rule out the possibility of dropping the player for the Milan derby between arch rivals Inter Milan and AC Milan this weekend for the same reason.
Click here to see our gallery of the top 10 Muslim football stars »
Elsewhere in Italy, fellow Muslim and Siena striker Abdelkader Ghezzal added to the debate by revealing he cannot fast and play at the same time. | Did he do something controversial? | {
"answer_start": [
119
],
"text": [
"he substituted Ghanaian midfielder Sulley Muntari from his Inter Milan side during their Italian Serie A clash"
]
} |
3n2bf7y2vqu5j0f5lxo2tfbcac4mh0 | (CNN) -- Portuguese football coach Jose Mourinho, ever the headline creator, has caused further outcry this week after he substituted Ghanaian midfielder Sulley Muntari from his Inter Milan side during their Italian Serie A clash with Bari.
Inter midfielder Sulley Muntari was substitued Jose Mourinho for his low-energy levels as a result of fasting.
Taking a tired player from the field of play was hardly breaking news, at least it wasn't until Mourinho revealed the move had been prompted because the player's perceived "low-energy levels" were as a result of fasting.
Muntari is a practicing Muslim who, like many of the same faith around the world, is currently not eating during the hours of daylight to mark the Ramadan holy period .Should fasting footballers be dropped by their managers? Sound Off below.
A discipline that clearly irked Mourinho who said in a post-match press conference: "Muntari had some problems related to Ramadan, perhaps with this heat it's not good for him to be doing this (fasting). Ramadan has not arrived at the ideal moment for a player to play a football match."
Muslim leaders in Italy have criticized the opinions of the coach known as the "Special One", but Mourinho did not rule out the possibility of dropping the player for the Milan derby between arch rivals Inter Milan and AC Milan this weekend for the same reason.
Click here to see our gallery of the top 10 Muslim football stars »
Elsewhere in Italy, fellow Muslim and Siena striker Abdelkader Ghezzal added to the debate by revealing he cannot fast and play at the same time. | Why did he do that? | {
"answer_start": [
311
],
"text": [
" low-energy levels as a result of fasting. \n"
]
} |
3n2bf7y2vqu5j0f5lxo2tfbcac4mh0 | (CNN) -- Portuguese football coach Jose Mourinho, ever the headline creator, has caused further outcry this week after he substituted Ghanaian midfielder Sulley Muntari from his Inter Milan side during their Italian Serie A clash with Bari.
Inter midfielder Sulley Muntari was substitued Jose Mourinho for his low-energy levels as a result of fasting.
Taking a tired player from the field of play was hardly breaking news, at least it wasn't until Mourinho revealed the move had been prompted because the player's perceived "low-energy levels" were as a result of fasting.
Muntari is a practicing Muslim who, like many of the same faith around the world, is currently not eating during the hours of daylight to mark the Ramadan holy period .Should fasting footballers be dropped by their managers? Sound Off below.
A discipline that clearly irked Mourinho who said in a post-match press conference: "Muntari had some problems related to Ramadan, perhaps with this heat it's not good for him to be doing this (fasting). Ramadan has not arrived at the ideal moment for a player to play a football match."
Muslim leaders in Italy have criticized the opinions of the coach known as the "Special One", but Mourinho did not rule out the possibility of dropping the player for the Milan derby between arch rivals Inter Milan and AC Milan this weekend for the same reason.
Click here to see our gallery of the top 10 Muslim football stars »
Elsewhere in Italy, fellow Muslim and Siena striker Abdelkader Ghezzal added to the debate by revealing he cannot fast and play at the same time. | Why was he fasting? | {
"answer_start": [
726
],
"text": [
"Ramadan holy period"
]
} |
3n2bf7y2vqu5j0f5lxo2tfbcac4mh0 | (CNN) -- Portuguese football coach Jose Mourinho, ever the headline creator, has caused further outcry this week after he substituted Ghanaian midfielder Sulley Muntari from his Inter Milan side during their Italian Serie A clash with Bari.
Inter midfielder Sulley Muntari was substitued Jose Mourinho for his low-energy levels as a result of fasting.
Taking a tired player from the field of play was hardly breaking news, at least it wasn't until Mourinho revealed the move had been prompted because the player's perceived "low-energy levels" were as a result of fasting.
Muntari is a practicing Muslim who, like many of the same faith around the world, is currently not eating during the hours of daylight to mark the Ramadan holy period .Should fasting footballers be dropped by their managers? Sound Off below.
A discipline that clearly irked Mourinho who said in a post-match press conference: "Muntari had some problems related to Ramadan, perhaps with this heat it's not good for him to be doing this (fasting). Ramadan has not arrived at the ideal moment for a player to play a football match."
Muslim leaders in Italy have criticized the opinions of the coach known as the "Special One", but Mourinho did not rule out the possibility of dropping the player for the Milan derby between arch rivals Inter Milan and AC Milan this weekend for the same reason.
Click here to see our gallery of the top 10 Muslim football stars »
Elsewhere in Italy, fellow Muslim and Siena striker Abdelkader Ghezzal added to the debate by revealing he cannot fast and play at the same time. | Was he Muslim? | {
"answer_start": [
579
],
"text": [
"Muntari is a practicing Muslim who"
]
} |
3n2bf7y2vqu5j0f5lxo2tfbcac4mh0 | (CNN) -- Portuguese football coach Jose Mourinho, ever the headline creator, has caused further outcry this week after he substituted Ghanaian midfielder Sulley Muntari from his Inter Milan side during their Italian Serie A clash with Bari.
Inter midfielder Sulley Muntari was substitued Jose Mourinho for his low-energy levels as a result of fasting.
Taking a tired player from the field of play was hardly breaking news, at least it wasn't until Mourinho revealed the move had been prompted because the player's perceived "low-energy levels" were as a result of fasting.
Muntari is a practicing Muslim who, like many of the same faith around the world, is currently not eating during the hours of daylight to mark the Ramadan holy period .Should fasting footballers be dropped by their managers? Sound Off below.
A discipline that clearly irked Mourinho who said in a post-match press conference: "Muntari had some problems related to Ramadan, perhaps with this heat it's not good for him to be doing this (fasting). Ramadan has not arrived at the ideal moment for a player to play a football match."
Muslim leaders in Italy have criticized the opinions of the coach known as the "Special One", but Mourinho did not rule out the possibility of dropping the player for the Milan derby between arch rivals Inter Milan and AC Milan this weekend for the same reason.
Click here to see our gallery of the top 10 Muslim football stars »
Elsewhere in Italy, fellow Muslim and Siena striker Abdelkader Ghezzal added to the debate by revealing he cannot fast and play at the same time. | Did any other Muslims speak up about fasting while playing? | {
"answer_start": [
579
],
"text": [
"Muntari is a practicing Muslim who, like many of the same faith around the world, is curre"
]
} |
3n2bf7y2vqu5j0f5lxo2tfbcac4mh0 | (CNN) -- Portuguese football coach Jose Mourinho, ever the headline creator, has caused further outcry this week after he substituted Ghanaian midfielder Sulley Muntari from his Inter Milan side during their Italian Serie A clash with Bari.
Inter midfielder Sulley Muntari was substitued Jose Mourinho for his low-energy levels as a result of fasting.
Taking a tired player from the field of play was hardly breaking news, at least it wasn't until Mourinho revealed the move had been prompted because the player's perceived "low-energy levels" were as a result of fasting.
Muntari is a practicing Muslim who, like many of the same faith around the world, is currently not eating during the hours of daylight to mark the Ramadan holy period .Should fasting footballers be dropped by their managers? Sound Off below.
A discipline that clearly irked Mourinho who said in a post-match press conference: "Muntari had some problems related to Ramadan, perhaps with this heat it's not good for him to be doing this (fasting). Ramadan has not arrived at the ideal moment for a player to play a football match."
Muslim leaders in Italy have criticized the opinions of the coach known as the "Special One", but Mourinho did not rule out the possibility of dropping the player for the Milan derby between arch rivals Inter Milan and AC Milan this weekend for the same reason.
Click here to see our gallery of the top 10 Muslim football stars »
Elsewhere in Italy, fellow Muslim and Siena striker Abdelkader Ghezzal added to the debate by revealing he cannot fast and play at the same time. | Who? | {
"answer_start": [
579
],
"text": [
"Muntari"
]
} |
3n2bf7y2vqu5j0f5lxo2tfbcac4mh0 | (CNN) -- Portuguese football coach Jose Mourinho, ever the headline creator, has caused further outcry this week after he substituted Ghanaian midfielder Sulley Muntari from his Inter Milan side during their Italian Serie A clash with Bari.
Inter midfielder Sulley Muntari was substitued Jose Mourinho for his low-energy levels as a result of fasting.
Taking a tired player from the field of play was hardly breaking news, at least it wasn't until Mourinho revealed the move had been prompted because the player's perceived "low-energy levels" were as a result of fasting.
Muntari is a practicing Muslim who, like many of the same faith around the world, is currently not eating during the hours of daylight to mark the Ramadan holy period .Should fasting footballers be dropped by their managers? Sound Off below.
A discipline that clearly irked Mourinho who said in a post-match press conference: "Muntari had some problems related to Ramadan, perhaps with this heat it's not good for him to be doing this (fasting). Ramadan has not arrived at the ideal moment for a player to play a football match."
Muslim leaders in Italy have criticized the opinions of the coach known as the "Special One", but Mourinho did not rule out the possibility of dropping the player for the Milan derby between arch rivals Inter Milan and AC Milan this weekend for the same reason.
Click here to see our gallery of the top 10 Muslim football stars »
Elsewhere in Italy, fellow Muslim and Siena striker Abdelkader Ghezzal added to the debate by revealing he cannot fast and play at the same time. | What did Abdelkader Ghezzal say about fasting while playing? | {
"answer_start": [
1518
],
"text": [
"added to the debate by revealing he cannot fast and play at the same time."
]
} |
3n2bf7y2vqu5j0f5lxo2tfbcac4mh0 | (CNN) -- Portuguese football coach Jose Mourinho, ever the headline creator, has caused further outcry this week after he substituted Ghanaian midfielder Sulley Muntari from his Inter Milan side during their Italian Serie A clash with Bari.
Inter midfielder Sulley Muntari was substitued Jose Mourinho for his low-energy levels as a result of fasting.
Taking a tired player from the field of play was hardly breaking news, at least it wasn't until Mourinho revealed the move had been prompted because the player's perceived "low-energy levels" were as a result of fasting.
Muntari is a practicing Muslim who, like many of the same faith around the world, is currently not eating during the hours of daylight to mark the Ramadan holy period .Should fasting footballers be dropped by their managers? Sound Off below.
A discipline that clearly irked Mourinho who said in a post-match press conference: "Muntari had some problems related to Ramadan, perhaps with this heat it's not good for him to be doing this (fasting). Ramadan has not arrived at the ideal moment for a player to play a football match."
Muslim leaders in Italy have criticized the opinions of the coach known as the "Special One", but Mourinho did not rule out the possibility of dropping the player for the Milan derby between arch rivals Inter Milan and AC Milan this weekend for the same reason.
Click here to see our gallery of the top 10 Muslim football stars »
Elsewhere in Italy, fellow Muslim and Siena striker Abdelkader Ghezzal added to the debate by revealing he cannot fast and play at the same time. | Have Muslim leaders agreed with the decisions of Mourinho? | {
"answer_start": [
1113
],
"text": [
"Muslim leaders in Italy have criticized the opinions of the coach "
]
} |
3n2bf7y2vqu5j0f5lxo2tfbcac4mh0 | (CNN) -- Portuguese football coach Jose Mourinho, ever the headline creator, has caused further outcry this week after he substituted Ghanaian midfielder Sulley Muntari from his Inter Milan side during their Italian Serie A clash with Bari.
Inter midfielder Sulley Muntari was substitued Jose Mourinho for his low-energy levels as a result of fasting.
Taking a tired player from the field of play was hardly breaking news, at least it wasn't until Mourinho revealed the move had been prompted because the player's perceived "low-energy levels" were as a result of fasting.
Muntari is a practicing Muslim who, like many of the same faith around the world, is currently not eating during the hours of daylight to mark the Ramadan holy period .Should fasting footballers be dropped by their managers? Sound Off below.
A discipline that clearly irked Mourinho who said in a post-match press conference: "Muntari had some problems related to Ramadan, perhaps with this heat it's not good for him to be doing this (fasting). Ramadan has not arrived at the ideal moment for a player to play a football match."
Muslim leaders in Italy have criticized the opinions of the coach known as the "Special One", but Mourinho did not rule out the possibility of dropping the player for the Milan derby between arch rivals Inter Milan and AC Milan this weekend for the same reason.
Click here to see our gallery of the top 10 Muslim football stars »
Elsewhere in Italy, fellow Muslim and Siena striker Abdelkader Ghezzal added to the debate by revealing he cannot fast and play at the same time. | What was the Mourinhos nickname? | {
"answer_start": [
1193
],
"text": [
"Special One"
]
} |
384pi804xs1x6vme7md3zwb1grc0su | CHAPTER THIRTEEN
"The Height of the season," said Bonamy.
The sun had already blistered the paint on the backs of the green chairs in Hyde Park; peeled the bark off the plane trees; and turned the earth to powder and to smooth yellow pebbles. Hyde Park was circled, incessantly, by turning wheels.
"The height of the season," said Bonamy sarcastically.
He was sarcastic because of Clara Durrant; because Jacob had come back from Greece very brown and lean, with his pockets full of Greek notes, which he pulled out when the chair man came for pence; because Jacob was silent.
"He has not said a word to show that he is glad to see me," thought Bonamy bitterly.
The motor cars passed incessantly over the bridge of the Serpentine; the upper classes walked upright, or bent themselves gracefully over the palings; the lower classes lay with their knees cocked up, flat on their backs; the sheep grazed on pointed wooden legs; small children ran down the sloping grass, stretched their arms, and fell.
"Very urbane," Jacob brought out.
"Urbane" on the lips of Jacob had mysteriously all the shapeliness of a character which Bonamy thought daily more sublime, devastating, terrific than ever, though he was still, and perhaps would be for ever, barbaric, obscure.
What superlatives! What adjectives! How acquit Bonamy of sentimentality of the grossest sort; of being tossed like a cork on the waves; of having no steady insight into character; of being unsupported by reason, and of drawing no comfort whatever from the works of the classics? | Who is speaking? | {
"answer_start": [
52
],
"text": [
"Bonamy"
]
} |
384pi804xs1x6vme7md3zwb1grc0su | CHAPTER THIRTEEN
"The Height of the season," said Bonamy.
The sun had already blistered the paint on the backs of the green chairs in Hyde Park; peeled the bark off the plane trees; and turned the earth to powder and to smooth yellow pebbles. Hyde Park was circled, incessantly, by turning wheels.
"The height of the season," said Bonamy sarcastically.
He was sarcastic because of Clara Durrant; because Jacob had come back from Greece very brown and lean, with his pockets full of Greek notes, which he pulled out when the chair man came for pence; because Jacob was silent.
"He has not said a word to show that he is glad to see me," thought Bonamy bitterly.
The motor cars passed incessantly over the bridge of the Serpentine; the upper classes walked upright, or bent themselves gracefully over the palings; the lower classes lay with their knees cocked up, flat on their backs; the sheep grazed on pointed wooden legs; small children ran down the sloping grass, stretched their arms, and fell.
"Very urbane," Jacob brought out.
"Urbane" on the lips of Jacob had mysteriously all the shapeliness of a character which Bonamy thought daily more sublime, devastating, terrific than ever, though he was still, and perhaps would be for ever, barbaric, obscure.
What superlatives! What adjectives! How acquit Bonamy of sentimentality of the grossest sort; of being tossed like a cork on the waves; of having no steady insight into character; of being unsupported by reason, and of drawing no comfort whatever from the works of the classics? | What do they say? | {
"answer_start": [
20
],
"text": [
"The Height of the season"
]
} |
384pi804xs1x6vme7md3zwb1grc0su | CHAPTER THIRTEEN
"The Height of the season," said Bonamy.
The sun had already blistered the paint on the backs of the green chairs in Hyde Park; peeled the bark off the plane trees; and turned the earth to powder and to smooth yellow pebbles. Hyde Park was circled, incessantly, by turning wheels.
"The height of the season," said Bonamy sarcastically.
He was sarcastic because of Clara Durrant; because Jacob had come back from Greece very brown and lean, with his pockets full of Greek notes, which he pulled out when the chair man came for pence; because Jacob was silent.
"He has not said a word to show that he is glad to see me," thought Bonamy bitterly.
The motor cars passed incessantly over the bridge of the Serpentine; the upper classes walked upright, or bent themselves gracefully over the palings; the lower classes lay with their knees cocked up, flat on their backs; the sheep grazed on pointed wooden legs; small children ran down the sloping grass, stretched their arms, and fell.
"Very urbane," Jacob brought out.
"Urbane" on the lips of Jacob had mysteriously all the shapeliness of a character which Bonamy thought daily more sublime, devastating, terrific than ever, though he was still, and perhaps would be for ever, barbaric, obscure.
What superlatives! What adjectives! How acquit Bonamy of sentimentality of the grossest sort; of being tossed like a cork on the waves; of having no steady insight into character; of being unsupported by reason, and of drawing no comfort whatever from the works of the classics? | Are they being serious? | {
"answer_start": [
344
],
"text": [
"sarcastically"
]
} |
384pi804xs1x6vme7md3zwb1grc0su | CHAPTER THIRTEEN
"The Height of the season," said Bonamy.
The sun had already blistered the paint on the backs of the green chairs in Hyde Park; peeled the bark off the plane trees; and turned the earth to powder and to smooth yellow pebbles. Hyde Park was circled, incessantly, by turning wheels.
"The height of the season," said Bonamy sarcastically.
He was sarcastic because of Clara Durrant; because Jacob had come back from Greece very brown and lean, with his pockets full of Greek notes, which he pulled out when the chair man came for pence; because Jacob was silent.
"He has not said a word to show that he is glad to see me," thought Bonamy bitterly.
The motor cars passed incessantly over the bridge of the Serpentine; the upper classes walked upright, or bent themselves gracefully over the palings; the lower classes lay with their knees cocked up, flat on their backs; the sheep grazed on pointed wooden legs; small children ran down the sloping grass, stretched their arms, and fell.
"Very urbane," Jacob brought out.
"Urbane" on the lips of Jacob had mysteriously all the shapeliness of a character which Bonamy thought daily more sublime, devastating, terrific than ever, though he was still, and perhaps would be for ever, barbaric, obscure.
What superlatives! What adjectives! How acquit Bonamy of sentimentality of the grossest sort; of being tossed like a cork on the waves; of having no steady insight into character; of being unsupported by reason, and of drawing no comfort whatever from the works of the classics? | Why? | {
"answer_start": [
377
],
"text": [
" because of Clara"
]
} |
384pi804xs1x6vme7md3zwb1grc0su | CHAPTER THIRTEEN
"The Height of the season," said Bonamy.
The sun had already blistered the paint on the backs of the green chairs in Hyde Park; peeled the bark off the plane trees; and turned the earth to powder and to smooth yellow pebbles. Hyde Park was circled, incessantly, by turning wheels.
"The height of the season," said Bonamy sarcastically.
He was sarcastic because of Clara Durrant; because Jacob had come back from Greece very brown and lean, with his pockets full of Greek notes, which he pulled out when the chair man came for pence; because Jacob was silent.
"He has not said a word to show that he is glad to see me," thought Bonamy bitterly.
The motor cars passed incessantly over the bridge of the Serpentine; the upper classes walked upright, or bent themselves gracefully over the palings; the lower classes lay with their knees cocked up, flat on their backs; the sheep grazed on pointed wooden legs; small children ran down the sloping grass, stretched their arms, and fell.
"Very urbane," Jacob brought out.
"Urbane" on the lips of Jacob had mysteriously all the shapeliness of a character which Bonamy thought daily more sublime, devastating, terrific than ever, though he was still, and perhaps would be for ever, barbaric, obscure.
What superlatives! What adjectives! How acquit Bonamy of sentimentality of the grossest sort; of being tossed like a cork on the waves; of having no steady insight into character; of being unsupported by reason, and of drawing no comfort whatever from the works of the classics? | What is her last name? | {
"answer_start": [
395
],
"text": [
"Durrant"
]
} |
384pi804xs1x6vme7md3zwb1grc0su | CHAPTER THIRTEEN
"The Height of the season," said Bonamy.
The sun had already blistered the paint on the backs of the green chairs in Hyde Park; peeled the bark off the plane trees; and turned the earth to powder and to smooth yellow pebbles. Hyde Park was circled, incessantly, by turning wheels.
"The height of the season," said Bonamy sarcastically.
He was sarcastic because of Clara Durrant; because Jacob had come back from Greece very brown and lean, with his pockets full of Greek notes, which he pulled out when the chair man came for pence; because Jacob was silent.
"He has not said a word to show that he is glad to see me," thought Bonamy bitterly.
The motor cars passed incessantly over the bridge of the Serpentine; the upper classes walked upright, or bent themselves gracefully over the palings; the lower classes lay with their knees cocked up, flat on their backs; the sheep grazed on pointed wooden legs; small children ran down the sloping grass, stretched their arms, and fell.
"Very urbane," Jacob brought out.
"Urbane" on the lips of Jacob had mysteriously all the shapeliness of a character which Bonamy thought daily more sublime, devastating, terrific than ever, though he was still, and perhaps would be for ever, barbaric, obscure.
What superlatives! What adjectives! How acquit Bonamy of sentimentality of the grossest sort; of being tossed like a cork on the waves; of having no steady insight into character; of being unsupported by reason, and of drawing no comfort whatever from the works of the classics? | Why else? | {
"answer_start": [
412
],
"text": [
"Jacob had come back from Greece"
]
} |
384pi804xs1x6vme7md3zwb1grc0su | CHAPTER THIRTEEN
"The Height of the season," said Bonamy.
The sun had already blistered the paint on the backs of the green chairs in Hyde Park; peeled the bark off the plane trees; and turned the earth to powder and to smooth yellow pebbles. Hyde Park was circled, incessantly, by turning wheels.
"The height of the season," said Bonamy sarcastically.
He was sarcastic because of Clara Durrant; because Jacob had come back from Greece very brown and lean, with his pockets full of Greek notes, which he pulled out when the chair man came for pence; because Jacob was silent.
"He has not said a word to show that he is glad to see me," thought Bonamy bitterly.
The motor cars passed incessantly over the bridge of the Serpentine; the upper classes walked upright, or bent themselves gracefully over the palings; the lower classes lay with their knees cocked up, flat on their backs; the sheep grazed on pointed wooden legs; small children ran down the sloping grass, stretched their arms, and fell.
"Very urbane," Jacob brought out.
"Urbane" on the lips of Jacob had mysteriously all the shapeliness of a character which Bonamy thought daily more sublime, devastating, terrific than ever, though he was still, and perhaps would be for ever, barbaric, obscure.
What superlatives! What adjectives! How acquit Bonamy of sentimentality of the grossest sort; of being tossed like a cork on the waves; of having no steady insight into character; of being unsupported by reason, and of drawing no comfort whatever from the works of the classics? | In what way? | {
"answer_start": [
444
],
"text": [
"very brown and lean"
]
} |
384pi804xs1x6vme7md3zwb1grc0su | CHAPTER THIRTEEN
"The Height of the season," said Bonamy.
The sun had already blistered the paint on the backs of the green chairs in Hyde Park; peeled the bark off the plane trees; and turned the earth to powder and to smooth yellow pebbles. Hyde Park was circled, incessantly, by turning wheels.
"The height of the season," said Bonamy sarcastically.
He was sarcastic because of Clara Durrant; because Jacob had come back from Greece very brown and lean, with his pockets full of Greek notes, which he pulled out when the chair man came for pence; because Jacob was silent.
"He has not said a word to show that he is glad to see me," thought Bonamy bitterly.
The motor cars passed incessantly over the bridge of the Serpentine; the upper classes walked upright, or bent themselves gracefully over the palings; the lower classes lay with their knees cocked up, flat on their backs; the sheep grazed on pointed wooden legs; small children ran down the sloping grass, stretched their arms, and fell.
"Very urbane," Jacob brought out.
"Urbane" on the lips of Jacob had mysteriously all the shapeliness of a character which Bonamy thought daily more sublime, devastating, terrific than ever, though he was still, and perhaps would be for ever, barbaric, obscure.
What superlatives! What adjectives! How acquit Bonamy of sentimentality of the grossest sort; of being tossed like a cork on the waves; of having no steady insight into character; of being unsupported by reason, and of drawing no comfort whatever from the works of the classics? | Why else? | {
"answer_start": [
566
],
"text": [
"Jacob was silent"
]
} |
384pi804xs1x6vme7md3zwb1grc0su | CHAPTER THIRTEEN
"The Height of the season," said Bonamy.
The sun had already blistered the paint on the backs of the green chairs in Hyde Park; peeled the bark off the plane trees; and turned the earth to powder and to smooth yellow pebbles. Hyde Park was circled, incessantly, by turning wheels.
"The height of the season," said Bonamy sarcastically.
He was sarcastic because of Clara Durrant; because Jacob had come back from Greece very brown and lean, with his pockets full of Greek notes, which he pulled out when the chair man came for pence; because Jacob was silent.
"He has not said a word to show that he is glad to see me," thought Bonamy bitterly.
The motor cars passed incessantly over the bridge of the Serpentine; the upper classes walked upright, or bent themselves gracefully over the palings; the lower classes lay with their knees cocked up, flat on their backs; the sheep grazed on pointed wooden legs; small children ran down the sloping grass, stretched their arms, and fell.
"Very urbane," Jacob brought out.
"Urbane" on the lips of Jacob had mysteriously all the shapeliness of a character which Bonamy thought daily more sublime, devastating, terrific than ever, though he was still, and perhaps would be for ever, barbaric, obscure.
What superlatives! What adjectives! How acquit Bonamy of sentimentality of the grossest sort; of being tossed like a cork on the waves; of having no steady insight into character; of being unsupported by reason, and of drawing no comfort whatever from the works of the classics? | Had he expressed happiness to see him? | {
"answer_start": [
587
],
"text": [
"He has not said a word to show that he is glad to see me"
]
} |
384pi804xs1x6vme7md3zwb1grc0su | CHAPTER THIRTEEN
"The Height of the season," said Bonamy.
The sun had already blistered the paint on the backs of the green chairs in Hyde Park; peeled the bark off the plane trees; and turned the earth to powder and to smooth yellow pebbles. Hyde Park was circled, incessantly, by turning wheels.
"The height of the season," said Bonamy sarcastically.
He was sarcastic because of Clara Durrant; because Jacob had come back from Greece very brown and lean, with his pockets full of Greek notes, which he pulled out when the chair man came for pence; because Jacob was silent.
"He has not said a word to show that he is glad to see me," thought Bonamy bitterly.
The motor cars passed incessantly over the bridge of the Serpentine; the upper classes walked upright, or bent themselves gracefully over the palings; the lower classes lay with their knees cocked up, flat on their backs; the sheep grazed on pointed wooden legs; small children ran down the sloping grass, stretched their arms, and fell.
"Very urbane," Jacob brought out.
"Urbane" on the lips of Jacob had mysteriously all the shapeliness of a character which Bonamy thought daily more sublime, devastating, terrific than ever, though he was still, and perhaps would be for ever, barbaric, obscure.
What superlatives! What adjectives! How acquit Bonamy of sentimentality of the grossest sort; of being tossed like a cork on the waves; of having no steady insight into character; of being unsupported by reason, and of drawing no comfort whatever from the works of the classics? | Is this upsetting him? | {
"answer_start": [
661
],
"text": [
"bitterly"
]
} |
384pi804xs1x6vme7md3zwb1grc0su | CHAPTER THIRTEEN
"The Height of the season," said Bonamy.
The sun had already blistered the paint on the backs of the green chairs in Hyde Park; peeled the bark off the plane trees; and turned the earth to powder and to smooth yellow pebbles. Hyde Park was circled, incessantly, by turning wheels.
"The height of the season," said Bonamy sarcastically.
He was sarcastic because of Clara Durrant; because Jacob had come back from Greece very brown and lean, with his pockets full of Greek notes, which he pulled out when the chair man came for pence; because Jacob was silent.
"He has not said a word to show that he is glad to see me," thought Bonamy bitterly.
The motor cars passed incessantly over the bridge of the Serpentine; the upper classes walked upright, or bent themselves gracefully over the palings; the lower classes lay with their knees cocked up, flat on their backs; the sheep grazed on pointed wooden legs; small children ran down the sloping grass, stretched their arms, and fell.
"Very urbane," Jacob brought out.
"Urbane" on the lips of Jacob had mysteriously all the shapeliness of a character which Bonamy thought daily more sublime, devastating, terrific than ever, though he was still, and perhaps would be for ever, barbaric, obscure.
What superlatives! What adjectives! How acquit Bonamy of sentimentality of the grossest sort; of being tossed like a cork on the waves; of having no steady insight into character; of being unsupported by reason, and of drawing no comfort whatever from the works of the classics? | What is going on around him? | {
"answer_start": [
676
],
"text": [
" motor cars passed"
]
} |
384pi804xs1x6vme7md3zwb1grc0su | CHAPTER THIRTEEN
"The Height of the season," said Bonamy.
The sun had already blistered the paint on the backs of the green chairs in Hyde Park; peeled the bark off the plane trees; and turned the earth to powder and to smooth yellow pebbles. Hyde Park was circled, incessantly, by turning wheels.
"The height of the season," said Bonamy sarcastically.
He was sarcastic because of Clara Durrant; because Jacob had come back from Greece very brown and lean, with his pockets full of Greek notes, which he pulled out when the chair man came for pence; because Jacob was silent.
"He has not said a word to show that he is glad to see me," thought Bonamy bitterly.
The motor cars passed incessantly over the bridge of the Serpentine; the upper classes walked upright, or bent themselves gracefully over the palings; the lower classes lay with their knees cocked up, flat on their backs; the sheep grazed on pointed wooden legs; small children ran down the sloping grass, stretched their arms, and fell.
"Very urbane," Jacob brought out.
"Urbane" on the lips of Jacob had mysteriously all the shapeliness of a character which Bonamy thought daily more sublime, devastating, terrific than ever, though he was still, and perhaps would be for ever, barbaric, obscure.
What superlatives! What adjectives! How acquit Bonamy of sentimentality of the grossest sort; of being tossed like a cork on the waves; of having no steady insight into character; of being unsupported by reason, and of drawing no comfort whatever from the works of the classics? | Where? | {
"answer_start": [
707
],
"text": [
"over the bridge"
]
} |
384pi804xs1x6vme7md3zwb1grc0su | CHAPTER THIRTEEN
"The Height of the season," said Bonamy.
The sun had already blistered the paint on the backs of the green chairs in Hyde Park; peeled the bark off the plane trees; and turned the earth to powder and to smooth yellow pebbles. Hyde Park was circled, incessantly, by turning wheels.
"The height of the season," said Bonamy sarcastically.
He was sarcastic because of Clara Durrant; because Jacob had come back from Greece very brown and lean, with his pockets full of Greek notes, which he pulled out when the chair man came for pence; because Jacob was silent.
"He has not said a word to show that he is glad to see me," thought Bonamy bitterly.
The motor cars passed incessantly over the bridge of the Serpentine; the upper classes walked upright, or bent themselves gracefully over the palings; the lower classes lay with their knees cocked up, flat on their backs; the sheep grazed on pointed wooden legs; small children ran down the sloping grass, stretched their arms, and fell.
"Very urbane," Jacob brought out.
"Urbane" on the lips of Jacob had mysteriously all the shapeliness of a character which Bonamy thought daily more sublime, devastating, terrific than ever, though he was still, and perhaps would be for ever, barbaric, obscure.
What superlatives! What adjectives! How acquit Bonamy of sentimentality of the grossest sort; of being tossed like a cork on the waves; of having no steady insight into character; of being unsupported by reason, and of drawing no comfort whatever from the works of the classics? | Over what? | {
"answer_start": [
726
],
"text": [
"the Serpentine"
]
} |
384pi804xs1x6vme7md3zwb1grc0su | CHAPTER THIRTEEN
"The Height of the season," said Bonamy.
The sun had already blistered the paint on the backs of the green chairs in Hyde Park; peeled the bark off the plane trees; and turned the earth to powder and to smooth yellow pebbles. Hyde Park was circled, incessantly, by turning wheels.
"The height of the season," said Bonamy sarcastically.
He was sarcastic because of Clara Durrant; because Jacob had come back from Greece very brown and lean, with his pockets full of Greek notes, which he pulled out when the chair man came for pence; because Jacob was silent.
"He has not said a word to show that he is glad to see me," thought Bonamy bitterly.
The motor cars passed incessantly over the bridge of the Serpentine; the upper classes walked upright, or bent themselves gracefully over the palings; the lower classes lay with their knees cocked up, flat on their backs; the sheep grazed on pointed wooden legs; small children ran down the sloping grass, stretched their arms, and fell.
"Very urbane," Jacob brought out.
"Urbane" on the lips of Jacob had mysteriously all the shapeliness of a character which Bonamy thought daily more sublime, devastating, terrific than ever, though he was still, and perhaps would be for ever, barbaric, obscure.
What superlatives! What adjectives! How acquit Bonamy of sentimentality of the grossest sort; of being tossed like a cork on the waves; of having no steady insight into character; of being unsupported by reason, and of drawing no comfort whatever from the works of the classics? | What else are they looking at? | {
"answer_start": [
942
],
"text": [
"children"
]
} |
384pi804xs1x6vme7md3zwb1grc0su | CHAPTER THIRTEEN
"The Height of the season," said Bonamy.
The sun had already blistered the paint on the backs of the green chairs in Hyde Park; peeled the bark off the plane trees; and turned the earth to powder and to smooth yellow pebbles. Hyde Park was circled, incessantly, by turning wheels.
"The height of the season," said Bonamy sarcastically.
He was sarcastic because of Clara Durrant; because Jacob had come back from Greece very brown and lean, with his pockets full of Greek notes, which he pulled out when the chair man came for pence; because Jacob was silent.
"He has not said a word to show that he is glad to see me," thought Bonamy bitterly.
The motor cars passed incessantly over the bridge of the Serpentine; the upper classes walked upright, or bent themselves gracefully over the palings; the lower classes lay with their knees cocked up, flat on their backs; the sheep grazed on pointed wooden legs; small children ran down the sloping grass, stretched their arms, and fell.
"Very urbane," Jacob brought out.
"Urbane" on the lips of Jacob had mysteriously all the shapeliness of a character which Bonamy thought daily more sublime, devastating, terrific than ever, though he was still, and perhaps would be for ever, barbaric, obscure.
What superlatives! What adjectives! How acquit Bonamy of sentimentality of the grossest sort; of being tossed like a cork on the waves; of having no steady insight into character; of being unsupported by reason, and of drawing no comfort whatever from the works of the classics? | Doing what? | {
"answer_start": [
951
],
"text": [
"ran down the sloping grass, stretched their arms, and fell"
]
} |
384pi804xs1x6vme7md3zwb1grc0su | CHAPTER THIRTEEN
"The Height of the season," said Bonamy.
The sun had already blistered the paint on the backs of the green chairs in Hyde Park; peeled the bark off the plane trees; and turned the earth to powder and to smooth yellow pebbles. Hyde Park was circled, incessantly, by turning wheels.
"The height of the season," said Bonamy sarcastically.
He was sarcastic because of Clara Durrant; because Jacob had come back from Greece very brown and lean, with his pockets full of Greek notes, which he pulled out when the chair man came for pence; because Jacob was silent.
"He has not said a word to show that he is glad to see me," thought Bonamy bitterly.
The motor cars passed incessantly over the bridge of the Serpentine; the upper classes walked upright, or bent themselves gracefully over the palings; the lower classes lay with their knees cocked up, flat on their backs; the sheep grazed on pointed wooden legs; small children ran down the sloping grass, stretched their arms, and fell.
"Very urbane," Jacob brought out.
"Urbane" on the lips of Jacob had mysteriously all the shapeliness of a character which Bonamy thought daily more sublime, devastating, terrific than ever, though he was still, and perhaps would be for ever, barbaric, obscure.
What superlatives! What adjectives! How acquit Bonamy of sentimentality of the grossest sort; of being tossed like a cork on the waves; of having no steady insight into character; of being unsupported by reason, and of drawing no comfort whatever from the works of the classics? | Anything else? | {
"answer_start": [
979
],
"text": [
"stretched their arms, and fell"
]
} |
384pi804xs1x6vme7md3zwb1grc0su | CHAPTER THIRTEEN
"The Height of the season," said Bonamy.
The sun had already blistered the paint on the backs of the green chairs in Hyde Park; peeled the bark off the plane trees; and turned the earth to powder and to smooth yellow pebbles. Hyde Park was circled, incessantly, by turning wheels.
"The height of the season," said Bonamy sarcastically.
He was sarcastic because of Clara Durrant; because Jacob had come back from Greece very brown and lean, with his pockets full of Greek notes, which he pulled out when the chair man came for pence; because Jacob was silent.
"He has not said a word to show that he is glad to see me," thought Bonamy bitterly.
The motor cars passed incessantly over the bridge of the Serpentine; the upper classes walked upright, or bent themselves gracefully over the palings; the lower classes lay with their knees cocked up, flat on their backs; the sheep grazed on pointed wooden legs; small children ran down the sloping grass, stretched their arms, and fell.
"Very urbane," Jacob brought out.
"Urbane" on the lips of Jacob had mysteriously all the shapeliness of a character which Bonamy thought daily more sublime, devastating, terrific than ever, though he was still, and perhaps would be for ever, barbaric, obscure.
What superlatives! What adjectives! How acquit Bonamy of sentimentality of the grossest sort; of being tossed like a cork on the waves; of having no steady insight into character; of being unsupported by reason, and of drawing no comfort whatever from the works of the classics? | And the other people? | {
"answer_start": [
742
],
"text": [
"the upper classes walked upright"
]
} |
384pi804xs1x6vme7md3zwb1grc0su | CHAPTER THIRTEEN
"The Height of the season," said Bonamy.
The sun had already blistered the paint on the backs of the green chairs in Hyde Park; peeled the bark off the plane trees; and turned the earth to powder and to smooth yellow pebbles. Hyde Park was circled, incessantly, by turning wheels.
"The height of the season," said Bonamy sarcastically.
He was sarcastic because of Clara Durrant; because Jacob had come back from Greece very brown and lean, with his pockets full of Greek notes, which he pulled out when the chair man came for pence; because Jacob was silent.
"He has not said a word to show that he is glad to see me," thought Bonamy bitterly.
The motor cars passed incessantly over the bridge of the Serpentine; the upper classes walked upright, or bent themselves gracefully over the palings; the lower classes lay with their knees cocked up, flat on their backs; the sheep grazed on pointed wooden legs; small children ran down the sloping grass, stretched their arms, and fell.
"Very urbane," Jacob brought out.
"Urbane" on the lips of Jacob had mysteriously all the shapeliness of a character which Bonamy thought daily more sublime, devastating, terrific than ever, though he was still, and perhaps would be for ever, barbaric, obscure.
What superlatives! What adjectives! How acquit Bonamy of sentimentality of the grossest sort; of being tossed like a cork on the waves; of having no steady insight into character; of being unsupported by reason, and of drawing no comfort whatever from the works of the classics? | Who else? | {
"answer_start": [
824
],
"text": [
"the lower classes lay"
]
} |
384pi804xs1x6vme7md3zwb1grc0su | CHAPTER THIRTEEN
"The Height of the season," said Bonamy.
The sun had already blistered the paint on the backs of the green chairs in Hyde Park; peeled the bark off the plane trees; and turned the earth to powder and to smooth yellow pebbles. Hyde Park was circled, incessantly, by turning wheels.
"The height of the season," said Bonamy sarcastically.
He was sarcastic because of Clara Durrant; because Jacob had come back from Greece very brown and lean, with his pockets full of Greek notes, which he pulled out when the chair man came for pence; because Jacob was silent.
"He has not said a word to show that he is glad to see me," thought Bonamy bitterly.
The motor cars passed incessantly over the bridge of the Serpentine; the upper classes walked upright, or bent themselves gracefully over the palings; the lower classes lay with their knees cocked up, flat on their backs; the sheep grazed on pointed wooden legs; small children ran down the sloping grass, stretched their arms, and fell.
"Very urbane," Jacob brought out.
"Urbane" on the lips of Jacob had mysteriously all the shapeliness of a character which Bonamy thought daily more sublime, devastating, terrific than ever, though he was still, and perhaps would be for ever, barbaric, obscure.
What superlatives! What adjectives! How acquit Bonamy of sentimentality of the grossest sort; of being tossed like a cork on the waves; of having no steady insight into character; of being unsupported by reason, and of drawing no comfort whatever from the works of the classics? | On their stomachs? | {
"answer_start": [
874
],
"text": [
"flat on their back"
]
} |
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