yz2022/T2P-DownstreamNLP huggingface dataset:
Ottoman_Empire

The first military unit of the Ottoman State was an army that was organized by Osman I from the tribesmen inhabiting the hills of western Anatolia in the late 13th century. The military system became an intricate organization with the advance of the Empire. The Ottoman military was a complex system of recruiting and fief-holding. The main corps of the Ottoman Army included Janissary, Sipahi, Akıncı and Mehterân. The Ottoman army was once among the most advanced fighting forces in the world, being one of the first to use muskets and cannons. The Ottoman Turks began using falconets, which were short but wide cannons, during the Siege of Constantinople. The Ottoman cavalry depended on high speed and mobility rather than heavy armour, using bows and short swords on fast Turkoman and Arabian horses (progenitors of the Thoroughbred racing horse), and often applied tactics similar to those of the Mongol Empire, such as pretending to retreat while surrounding the enemy forces inside a crescent-shaped formation and then making the real attack. The decline in the army's performance became clear from the mid-17th century and after the Great Turkish War. The 18th century saw some limited success against Venice, but in the north the European-style Russian armies forced the Ottomans to concede land.

Question: In what conflict did the Ottoman Turks use falconets?
Answer: Siege of Constantinople
Ottoman_Empire

Under the millet system, non-Muslim people were considered subjects of the Empire, but were not subject to the Muslim faith or Muslim law. The Orthodox millet, for instance, was still officially legally subject to Justinian's Code, which had been in effect in the Byzantine Empire for 900 years. Also, as the largest group of non-Muslim subjects (or zimmi) of the Islamic Ottoman state, the Orthodox millet was granted a number of special privileges in the fields of politics and commerce, and had to pay higher taxes than Muslim subjects.

Question: What millet was subject to Justinian's Code?
Answer: The Orthodox millet
Ottoman_Empire

Economic and political migrations made an impact across the empire. For example, the Russian and Austria-Habsburg annexation of the Crimean and Balkan regions respectively saw large influxes of Muslim refugees – 200,000 Crimean Tartars fleeing to Dobruja. Between 1783 and 1913, approximately 5–7 million refugees flooded into the Ottoman Empire, at least 3.8 million of whom were from Russia. Some migrations left indelible marks such as political tension between parts of the empire (e.g. Turkey and Bulgaria) whereas centrifugal effects were noticed in other territories, simpler demographics emerging from diverse populations. Economies were also impacted with the loss of artisans, merchants, manufacturers and agriculturists. Since the 19th century, a large proportion of Muslim peoples from the Balkans emigrated to present-day Turkey. These people are called Muhacir. By the time the Ottoman Empire came to an end in 1922, half of the urban population of Turkey was descended from Muslim refugees from Russia.

Question: The annexation of what two regions resulted in large groups of Muslim refugees coming into the empire?
Answer: the Crimean and Balkan regions

Question: Muslims representing 200,000 of what group fled to Dobruja?
Answer: Crimean Tartars

Question: How many refugees fled Russia to the Ottoman Empire from 1783 to 1913?
Answer: 3.8 million

Question: What are the people from the Balkans who emigrated to Turkey called?
Answer: Muhacir

Question: In what year did the Ottoman Empire end?
Answer: 1922
Ottoman_Empire

Because of a low literacy rate among the public (about 2–3% until the early 19th century and just about 15% at the end of 19th century),[citation needed] ordinary people had to hire scribes as "special request-writers" (arzuhâlcis) to be able to communicate with the government. The ethnic groups continued to speak within their families and neighborhoods (mahalles) with their own languages (e.g., Jews, Greeks, Armenians, etc.). In villages where two or more populations lived together, the inhabitants would often speak each other's language. In cosmopolitan cities, people often spoke their family languages; many of those who were not ethnic Turks spoke Turkish as a second language.

Question: What were hired scribes known as?
Answer: "special request-writers" (arzuhâlcis)
Ottoman_Empire

Under the millet system, non-Muslim people were considered subjects of the Empire, but were not subject to the Muslim faith or Muslim law. The Orthodox millet, for instance, was still officially legally subject to Justinian's Code, which had been in effect in the Byzantine Empire for 900 years. Also, as the largest group of non-Muslim subjects (or zimmi) of the Islamic Ottoman state, the Orthodox millet was granted a number of special privileges in the fields of politics and commerce, and had to pay higher taxes than Muslim subjects.

Question: What were non-Muslims also known as in the Islamic Ottoman State?
Answer: zimmi

Question: What system deemed non-Muslims subjects of the empire but unbound by Muslim law?
Answer: the millet system
Ottoman_Empire

Ottoman Divan poetry was a highly ritualized and symbolic art form. From the Persian poetry that largely inspired it, it inherited a wealth of symbols whose meanings and interrelationships—both of similitude (مراعات نظير mura'ât-i nazîr / تناسب tenâsüb) and opposition (تضاد tezâd) were more or less prescribed. Divan poetry was composed through the constant juxtaposition of many such images within a strict metrical framework, thus allowing numerous potential meanings to emerge. The vast majority of Divan poetry was lyric in nature: either gazels (which make up the greatest part of the repertoire of the tradition), or kasîdes. There were, however, other common genres, most particularly the mesnevî, a kind of verse romance and thus a variety of narrative poetry; the two most notable examples of this form are the Leyli and Majnun of Fuzûlî and the Hüsn ü Aşk of Şeyh Gâlib.

Question: What was the romance genre of Divan poetry known as?
Answer: mesnevî
Ottoman_Empire

Under the millet system, non-Muslim people were considered subjects of the Empire, but were not subject to the Muslim faith or Muslim law. The Orthodox millet, for instance, was still officially legally subject to Justinian's Code, which had been in effect in the Byzantine Empire for 900 years. Also, as the largest group of non-Muslim subjects (or zimmi) of the Islamic Ottoman state, the Orthodox millet was granted a number of special privileges in the fields of politics and commerce, and had to pay higher taxes than Muslim subjects.

Question: Being a non-muslim in the Empire resulted in what as it related to taxes?
Answer: higher taxes
Ottoman_Empire

Ottoman Divan poetry was a highly ritualized and symbolic art form. From the Persian poetry that largely inspired it, it inherited a wealth of symbols whose meanings and interrelationships—both of similitude (مراعات نظير mura'ât-i nazîr / تناسب tenâsüb) and opposition (تضاد tezâd) were more or less prescribed. Divan poetry was composed through the constant juxtaposition of many such images within a strict metrical framework, thus allowing numerous potential meanings to emerge. The vast majority of Divan poetry was lyric in nature: either gazels (which make up the greatest part of the repertoire of the tradition), or kasîdes. There were, however, other common genres, most particularly the mesnevî, a kind of verse romance and thus a variety of narrative poetry; the two most notable examples of this form are the Leyli and Majnun of Fuzûlî and the Hüsn ü Aşk of Şeyh Gâlib.

Question: What type of framework was Divan poetry based on?
Answer: a strict metrical framework
Ottoman_Empire

Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes.

Question: The elites of the Ottoman empire found what type of music important?
Answer: Ottoman classical music
Ottoman_Empire

Ottoman Divan poetry was a highly ritualized and symbolic art form. From the Persian poetry that largely inspired it, it inherited a wealth of symbols whose meanings and interrelationships—both of similitude (مراعات نظير mura'ât-i nazîr / تناسب tenâsüb) and opposition (تضاد tezâd) were more or less prescribed. Divan poetry was composed through the constant juxtaposition of many such images within a strict metrical framework, thus allowing numerous potential meanings to emerge. The vast majority of Divan poetry was lyric in nature: either gazels (which make up the greatest part of the repertoire of the tradition), or kasîdes. There were, however, other common genres, most particularly the mesnevî, a kind of verse romance and thus a variety of narrative poetry; the two most notable examples of this form are the Leyli and Majnun of Fuzûlî and the Hüsn ü Aşk of Şeyh Gâlib.

Question: What make up the largest portion of Divan poetry?
Answer: gazels (which make up the greatest part of the repertoire of the tradition), or kasîdes.
Ottoman_Empire

Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes.

Question: Many of the Sultans of the Ottoman empire were accomplished at being what?
Answer: musicians and composers

Question: What are the melodic units used by Ottoman classical music?
Answer: makam
Ottoman_Empire

The rise of port cities saw the clustering of populations caused by the development of steamships and railroads. Urbanization increased from 1700 to 1922, with towns and cities growing. Improvements in health and sanitation made them more attractive to live and work in. Port cities like Salonica, in Greece, saw its population rise from 55,000 in 1800 to 160,000 in 1912 and İzmir which had a population of 150,000 in 1800 grew to 300,000 by 1914. Some regions conversely had population falls – Belgrade saw its population drop from 25,000 to 8,000 mainly due to political strife.

Question: Steamships and railroads rose with what else?
Answer: The rise of port cities

Question: In what year did urbanization in the Ottoman empire begin to increase?
Answer: 1700

Question: What was the population of Salonica in 1800?
Answer: 55,000

Question: The rise of ports caused what in populations?
Answer: the clustering of populations

Question: What were two improvements that made cities more desirable to live in?
Answer: Improvements in health and sanitation
Ottoman_Empire

Ottoman Turkish was the official language of the Empire. It was an Oghuz Turkic language highly influenced by Persian and Arabic. The Ottomans had several influential languages: Turkish, spoken by the majority of the people in Anatolia and by the majority of Muslims of the Balkans except in Albania and Bosnia; Persian, only spoken by the educated; Arabic, spoken mainly in Arabia, North Africa, Iraq, Kuwait, the Levant and parts of the Horn of Africa; and Somali throughout the Horn of Africa. In the last two centuries, usage of these became limited, though, and specific: Persian served mainly as a literary language for the educated, while Arabic was used for religious rites.

Question: What was the official language of the Ottoman Empire?
Answer: Ottoman Turkish
Ottoman_Empire

Due to historically close ties with France, French literature came to constitute the major Western influence on Ottoman literature throughout the latter half of the 19th century. As a result, many of the same movements prevalent in France during this period also had their Ottoman equivalents: in the developing Ottoman prose tradition, for instance, the influence of Romanticism can be seen during the Tanzimat period, and that of the Realist and Naturalist movements in subsequent periods; in the poetic tradition, on the other hand, it was the influence of the Symbolist and Parnassian movements that became paramount.

Question: What was the biggest influence from the west on Ottoman literature?
Answer: French literature

Question: During what time period was Ottoman literate most influenced by the west?
Answer: the latter half of the 19th century
Ottoman_Empire

Ottoman Turkish was the official language of the Empire. It was an Oghuz Turkic language highly influenced by Persian and Arabic. The Ottomans had several influential languages: Turkish, spoken by the majority of the people in Anatolia and by the majority of Muslims of the Balkans except in Albania and Bosnia; Persian, only spoken by the educated; Arabic, spoken mainly in Arabia, North Africa, Iraq, Kuwait, the Levant and parts of the Horn of Africa; and Somali throughout the Horn of Africa. In the last two centuries, usage of these became limited, though, and specific: Persian served mainly as a literary language for the educated, while Arabic was used for religious rites.

Question: What were the main influences of the official language of the Empire?
Answer: Persian and Arabic
Ottoman_Empire

Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes.

Question: The sultan known by what name has compositions which are still performed today?
Answer: Selim III
Ottoman_Empire

Ottoman Turkish was the official language of the Empire. It was an Oghuz Turkic language highly influenced by Persian and Arabic. The Ottomans had several influential languages: Turkish, spoken by the majority of the people in Anatolia and by the majority of Muslims of the Balkans except in Albania and Bosnia; Persian, only spoken by the educated; Arabic, spoken mainly in Arabia, North Africa, Iraq, Kuwait, the Levant and parts of the Horn of Africa; and Somali throughout the Horn of Africa. In the last two centuries, usage of these became limited, though, and specific: Persian served mainly as a literary language for the educated, while Arabic was used for religious rites.

Question: What language was spoken by most people in Anatolia?
Answer: Turkish
Ottoman_Empire

Due to historically close ties with France, French literature came to constitute the major Western influence on Ottoman literature throughout the latter half of the 19th century. As a result, many of the same movements prevalent in France during this period also had their Ottoman equivalents: in the developing Ottoman prose tradition, for instance, the influence of Romanticism can be seen during the Tanzimat period, and that of the Realist and Naturalist movements in subsequent periods; in the poetic tradition, on the other hand, it was the influence of the Symbolist and Parnassian movements that became paramount.

Question: During the Tanzimat what western influence could be seen?
Answer: the influence of Romanticism
Ottoman_Empire

Ottoman Turkish was the official language of the Empire. It was an Oghuz Turkic language highly influenced by Persian and Arabic. The Ottomans had several influential languages: Turkish, spoken by the majority of the people in Anatolia and by the majority of Muslims of the Balkans except in Albania and Bosnia; Persian, only spoken by the educated; Arabic, spoken mainly in Arabia, North Africa, Iraq, Kuwait, the Levant and parts of the Horn of Africa; and Somali throughout the Horn of Africa. In the last two centuries, usage of these became limited, though, and specific: Persian served mainly as a literary language for the educated, while Arabic was used for religious rites.

Question: What language was used for religious uses in the Empire?
Answer: Arabic

Question: Which languages influenced by the empire was spoken in Iraq?
Answer: Arabic
Ottoman_Empire

Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes.

Question: What rhythmic units does Ottoman classical music use?
Answer: units called usul
Ottoman_Empire

Due to historically close ties with France, French literature came to constitute the major Western influence on Ottoman literature throughout the latter half of the 19th century. As a result, many of the same movements prevalent in France during this period also had their Ottoman equivalents: in the developing Ottoman prose tradition, for instance, the influence of Romanticism can be seen during the Tanzimat period, and that of the Realist and Naturalist movements in subsequent periods; in the poetic tradition, on the other hand, it was the influence of the Symbolist and Parnassian movements that became paramount.

Question: The poetic tradition had its biggest influence on what Ottoman literary movements?
Answer: the Symbolist and Parnassian movements
Ottoman_Empire

The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them.

Question: Which art was important in religious symbolism and as a decoration in the Ottoman empire?
Answer: carpet weaving
Ottoman_Empire

Due to historically close ties with France, French literature came to constitute the major Western influence on Ottoman literature throughout the latter half of the 19th century. As a result, many of the same movements prevalent in France during this period also had their Ottoman equivalents: in the developing Ottoman prose tradition, for instance, the influence of Romanticism can be seen during the Tanzimat period, and that of the Realist and Naturalist movements in subsequent periods; in the poetic tradition, on the other hand, it was the influence of the Symbolist and Parnassian movements that became paramount.

Question: Romanticism, and Realism were two movements from the west that influenced the Ottoman literary scene, what was the third?
Answer: Naturalist
Ottoman_Empire

The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them.

Question: What was the custom for those wearing shoes indoors in the Ottoman empire?
Answer: it was customary to remove one's shoes

Question: Where did carpet weaving in the Empire originate?
Answer: the nomadic cultures of central Asia

Question: Where did carpet weaving initially spread to inside of the Empire?
Answer: Anatolia

Question: Kilims were used by Turks to provide insulation where?
Answer: walls and doorways
Ottoman_Empire

Ottoman Divan poetry was a highly ritualized and symbolic art form. From the Persian poetry that largely inspired it, it inherited a wealth of symbols whose meanings and interrelationships—both of similitude (مراعات نظير mura'ât-i nazîr / تناسب tenâsüb) and opposition (تضاد tezâd) were more or less prescribed. Divan poetry was composed through the constant juxtaposition of many such images within a strict metrical framework, thus allowing numerous potential meanings to emerge. The vast majority of Divan poetry was lyric in nature: either gazels (which make up the greatest part of the repertoire of the tradition), or kasîdes. There were, however, other common genres, most particularly the mesnevî, a kind of verse romance and thus a variety of narrative poetry; the two most notable examples of this form are the Leyli and Majnun of Fuzûlî and the Hüsn ü Aşk of Şeyh Gâlib.

Question: What type of Ottoman poetry is ritualized?
Answer: Divan poetry

Question: What kind of poetry inspired Ottoman Divan Poetry?
Answer: Persian poetry
Ottoman_Empire

Until the second half of the 15th century the empire had a Christian majority, under the rule of a Muslim minority. In the late 19th century, the non-Muslim population of the empire began to fall considerably, not only due to secession, but also because of migratory movements. The proportion of Muslims amounted to 60% in the 1820s, gradually increasing to 69% in the 1870s and then to 76% in the 1890s. By 1914, only 19.1% of the empire's population was non-Muslim, mostly made up of Christian Greeks, Assyrians, Armenians, and Jews.

Question: The Empire had a Christian majority until what time?
Answer: the second half of the 15th century

Question: What group ruled the empire until the 15th century?
Answer: a Muslim minority

Question: What group began to decline within the Empire in the late 19th century?
Answer: the non-Muslim population

Question: Muslims accounted for what amount of the population of the Empire in the 1820s?
Answer: 60%

Question: In 1914 what portion of the Empire weren't Muslims?
Answer: 19.1%