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What human aspects does Wells believe reach "divergent and incompatible" outcomes? | gutenberg | Wells begins by distinguishing between "two divergent types of mind," one that judges and attaches importance principally to what has happened in the past and one that judges and attaches importance principally to what will happen in the future. To the former he attributes the adjectives "legal or submissive," "passive," and "oriental," and to the latter the adjectives "legislative, creative, organizing, or masterful," and "active," calling it "a more modern and much less abundant type of mind."
Observing that these two minds reach "divergent and incompatible consequences" in the spheres of morality and public affairs, Wells analyzes the reasons for which the past-oriented mind predominates and asserts that this is principally due to the evidently greater knowability of the personal past as compared to the future. But he argues that the inference from this attitude that the future is essentially unknowable does not square with "modern science, that is to say the relentless systematic criticism of phenomena." Not only has science made us knowledgeable about a distant, impersonal past, it also regards the ability successfully to predict to be a criterion of validity. Though the unpredictability of human behavior complicates the problem, the fact that "as individuals increase in number they begin to average out" means that "an inductive knowledge of a great number of things in the future is becoming a human possibility." Confessing himself to be among "those who believe entirely in the forces behind the individual" rather than in individuals themselves as determining causes, Wells argues that there is "no reason why we should not aspire to, and discover and use, safe and servicable, generalizations upon countless issues in the human destiny." But personal prophecy and fortune-telling will never be possible; "the knowledge of the future we may hope to gain will be general and not individual."
Wells devotes the last part of his text to speculations about "the question what is to come after man," considering it "the most persistently fascinating and the most insoluble question in the whole world." He concludes with a statement of personal faith "in the coherency and purpose in the world and in the greatness of human destiny." | The past and future parts of the mind |
Why does Wells feel the past dominates publc affairs and morality? | gutenberg | Wells begins by distinguishing between "two divergent types of mind," one that judges and attaches importance principally to what has happened in the past and one that judges and attaches importance principally to what will happen in the future. To the former he attributes the adjectives "legal or submissive," "passive," and "oriental," and to the latter the adjectives "legislative, creative, organizing, or masterful," and "active," calling it "a more modern and much less abundant type of mind."
Observing that these two minds reach "divergent and incompatible consequences" in the spheres of morality and public affairs, Wells analyzes the reasons for which the past-oriented mind predominates and asserts that this is principally due to the evidently greater knowability of the personal past as compared to the future. But he argues that the inference from this attitude that the future is essentially unknowable does not square with "modern science, that is to say the relentless systematic criticism of phenomena." Not only has science made us knowledgeable about a distant, impersonal past, it also regards the ability successfully to predict to be a criterion of validity. Though the unpredictability of human behavior complicates the problem, the fact that "as individuals increase in number they begin to average out" means that "an inductive knowledge of a great number of things in the future is becoming a human possibility." Confessing himself to be among "those who believe entirely in the forces behind the individual" rather than in individuals themselves as determining causes, Wells argues that there is "no reason why we should not aspire to, and discover and use, safe and servicable, generalizations upon countless issues in the human destiny." But personal prophecy and fortune-telling will never be possible; "the knowledge of the future we may hope to gain will be general and not individual."
Wells devotes the last part of his text to speculations about "the question what is to come after man," considering it "the most persistently fascinating and the most insoluble question in the whole world." He concludes with a statement of personal faith "in the coherency and purpose in the world and in the greatness of human destiny." | The past is more knowable than the future |
What does Wells feel science demonstrates about the future mind? | gutenberg | Wells begins by distinguishing between "two divergent types of mind," one that judges and attaches importance principally to what has happened in the past and one that judges and attaches importance principally to what will happen in the future. To the former he attributes the adjectives "legal or submissive," "passive," and "oriental," and to the latter the adjectives "legislative, creative, organizing, or masterful," and "active," calling it "a more modern and much less abundant type of mind."
Observing that these two minds reach "divergent and incompatible consequences" in the spheres of morality and public affairs, Wells analyzes the reasons for which the past-oriented mind predominates and asserts that this is principally due to the evidently greater knowability of the personal past as compared to the future. But he argues that the inference from this attitude that the future is essentially unknowable does not square with "modern science, that is to say the relentless systematic criticism of phenomena." Not only has science made us knowledgeable about a distant, impersonal past, it also regards the ability successfully to predict to be a criterion of validity. Though the unpredictability of human behavior complicates the problem, the fact that "as individuals increase in number they begin to average out" means that "an inductive knowledge of a great number of things in the future is becoming a human possibility." Confessing himself to be among "those who believe entirely in the forces behind the individual" rather than in individuals themselves as determining causes, Wells argues that there is "no reason why we should not aspire to, and discover and use, safe and servicable, generalizations upon countless issues in the human destiny." But personal prophecy and fortune-telling will never be possible; "the knowledge of the future we may hope to gain will be general and not individual."
Wells devotes the last part of his text to speculations about "the question what is to come after man," considering it "the most persistently fascinating and the most insoluble question in the whole world." He concludes with a statement of personal faith "in the coherency and purpose in the world and in the greatness of human destiny." | It is knowable |
What question does Wells feel is the most important to consider? | gutenberg | Wells begins by distinguishing between "two divergent types of mind," one that judges and attaches importance principally to what has happened in the past and one that judges and attaches importance principally to what will happen in the future. To the former he attributes the adjectives "legal or submissive," "passive," and "oriental," and to the latter the adjectives "legislative, creative, organizing, or masterful," and "active," calling it "a more modern and much less abundant type of mind."
Observing that these two minds reach "divergent and incompatible consequences" in the spheres of morality and public affairs, Wells analyzes the reasons for which the past-oriented mind predominates and asserts that this is principally due to the evidently greater knowability of the personal past as compared to the future. But he argues that the inference from this attitude that the future is essentially unknowable does not square with "modern science, that is to say the relentless systematic criticism of phenomena." Not only has science made us knowledgeable about a distant, impersonal past, it also regards the ability successfully to predict to be a criterion of validity. Though the unpredictability of human behavior complicates the problem, the fact that "as individuals increase in number they begin to average out" means that "an inductive knowledge of a great number of things in the future is becoming a human possibility." Confessing himself to be among "those who believe entirely in the forces behind the individual" rather than in individuals themselves as determining causes, Wells argues that there is "no reason why we should not aspire to, and discover and use, safe and servicable, generalizations upon countless issues in the human destiny." But personal prophecy and fortune-telling will never be possible; "the knowledge of the future we may hope to gain will be general and not individual."
Wells devotes the last part of his text to speculations about "the question what is to come after man," considering it "the most persistently fascinating and the most insoluble question in the whole world." He concludes with a statement of personal faith "in the coherency and purpose in the world and in the greatness of human destiny." | What comes after man |
What does Wells believe influences individuals the most? | gutenberg | Wells begins by distinguishing between "two divergent types of mind," one that judges and attaches importance principally to what has happened in the past and one that judges and attaches importance principally to what will happen in the future. To the former he attributes the adjectives "legal or submissive," "passive," and "oriental," and to the latter the adjectives "legislative, creative, organizing, or masterful," and "active," calling it "a more modern and much less abundant type of mind."
Observing that these two minds reach "divergent and incompatible consequences" in the spheres of morality and public affairs, Wells analyzes the reasons for which the past-oriented mind predominates and asserts that this is principally due to the evidently greater knowability of the personal past as compared to the future. But he argues that the inference from this attitude that the future is essentially unknowable does not square with "modern science, that is to say the relentless systematic criticism of phenomena." Not only has science made us knowledgeable about a distant, impersonal past, it also regards the ability successfully to predict to be a criterion of validity. Though the unpredictability of human behavior complicates the problem, the fact that "as individuals increase in number they begin to average out" means that "an inductive knowledge of a great number of things in the future is becoming a human possibility." Confessing himself to be among "those who believe entirely in the forces behind the individual" rather than in individuals themselves as determining causes, Wells argues that there is "no reason why we should not aspire to, and discover and use, safe and servicable, generalizations upon countless issues in the human destiny." But personal prophecy and fortune-telling will never be possible; "the knowledge of the future we may hope to gain will be general and not individual."
Wells devotes the last part of his text to speculations about "the question what is to come after man," considering it "the most persistently fascinating and the most insoluble question in the whole world." He concludes with a statement of personal faith "in the coherency and purpose in the world and in the greatness of human destiny." | The forces behind individuals |
What type of knowledge about the future does Wells believe is attainable? | gutenberg | Wells begins by distinguishing between "two divergent types of mind," one that judges and attaches importance principally to what has happened in the past and one that judges and attaches importance principally to what will happen in the future. To the former he attributes the adjectives "legal or submissive," "passive," and "oriental," and to the latter the adjectives "legislative, creative, organizing, or masterful," and "active," calling it "a more modern and much less abundant type of mind."
Observing that these two minds reach "divergent and incompatible consequences" in the spheres of morality and public affairs, Wells analyzes the reasons for which the past-oriented mind predominates and asserts that this is principally due to the evidently greater knowability of the personal past as compared to the future. But he argues that the inference from this attitude that the future is essentially unknowable does not square with "modern science, that is to say the relentless systematic criticism of phenomena." Not only has science made us knowledgeable about a distant, impersonal past, it also regards the ability successfully to predict to be a criterion of validity. Though the unpredictability of human behavior complicates the problem, the fact that "as individuals increase in number they begin to average out" means that "an inductive knowledge of a great number of things in the future is becoming a human possibility." Confessing himself to be among "those who believe entirely in the forces behind the individual" rather than in individuals themselves as determining causes, Wells argues that there is "no reason why we should not aspire to, and discover and use, safe and servicable, generalizations upon countless issues in the human destiny." But personal prophecy and fortune-telling will never be possible; "the knowledge of the future we may hope to gain will be general and not individual."
Wells devotes the last part of his text to speculations about "the question what is to come after man," considering it "the most persistently fascinating and the most insoluble question in the whole world." He concludes with a statement of personal faith "in the coherency and purpose in the world and in the greatness of human destiny." | General |
How does Wells feel about fortune telling? | gutenberg | Wells begins by distinguishing between "two divergent types of mind," one that judges and attaches importance principally to what has happened in the past and one that judges and attaches importance principally to what will happen in the future. To the former he attributes the adjectives "legal or submissive," "passive," and "oriental," and to the latter the adjectives "legislative, creative, organizing, or masterful," and "active," calling it "a more modern and much less abundant type of mind."
Observing that these two minds reach "divergent and incompatible consequences" in the spheres of morality and public affairs, Wells analyzes the reasons for which the past-oriented mind predominates and asserts that this is principally due to the evidently greater knowability of the personal past as compared to the future. But he argues that the inference from this attitude that the future is essentially unknowable does not square with "modern science, that is to say the relentless systematic criticism of phenomena." Not only has science made us knowledgeable about a distant, impersonal past, it also regards the ability successfully to predict to be a criterion of validity. Though the unpredictability of human behavior complicates the problem, the fact that "as individuals increase in number they begin to average out" means that "an inductive knowledge of a great number of things in the future is becoming a human possibility." Confessing himself to be among "those who believe entirely in the forces behind the individual" rather than in individuals themselves as determining causes, Wells argues that there is "no reason why we should not aspire to, and discover and use, safe and servicable, generalizations upon countless issues in the human destiny." But personal prophecy and fortune-telling will never be possible; "the knowledge of the future we may hope to gain will be general and not individual."
Wells devotes the last part of his text to speculations about "the question what is to come after man," considering it "the most persistently fascinating and the most insoluble question in the whole world." He concludes with a statement of personal faith "in the coherency and purpose in the world and in the greatness of human destiny." | He does not believe in it |
What does Wlells distinguish between? | gutenberg | Wells begins by distinguishing between "two divergent types of mind," one that judges and attaches importance principally to what has happened in the past and one that judges and attaches importance principally to what will happen in the future. To the former he attributes the adjectives "legal or submissive," "passive," and "oriental," and to the latter the adjectives "legislative, creative, organizing, or masterful," and "active," calling it "a more modern and much less abundant type of mind."
Observing that these two minds reach "divergent and incompatible consequences" in the spheres of morality and public affairs, Wells analyzes the reasons for which the past-oriented mind predominates and asserts that this is principally due to the evidently greater knowability of the personal past as compared to the future. But he argues that the inference from this attitude that the future is essentially unknowable does not square with "modern science, that is to say the relentless systematic criticism of phenomena." Not only has science made us knowledgeable about a distant, impersonal past, it also regards the ability successfully to predict to be a criterion of validity. Though the unpredictability of human behavior complicates the problem, the fact that "as individuals increase in number they begin to average out" means that "an inductive knowledge of a great number of things in the future is becoming a human possibility." Confessing himself to be among "those who believe entirely in the forces behind the individual" rather than in individuals themselves as determining causes, Wells argues that there is "no reason why we should not aspire to, and discover and use, safe and servicable, generalizations upon countless issues in the human destiny." But personal prophecy and fortune-telling will never be possible; "the knowledge of the future we may hope to gain will be general and not individual."
Wells devotes the last part of his text to speculations about "the question what is to come after man," considering it "the most persistently fascinating and the most insoluble question in the whole world." He concludes with a statement of personal faith "in the coherency and purpose in the world and in the greatness of human destiny." | Two divergent types of mind |
What is one difference between the two forms? | gutenberg | Wells begins by distinguishing between "two divergent types of mind," one that judges and attaches importance principally to what has happened in the past and one that judges and attaches importance principally to what will happen in the future. To the former he attributes the adjectives "legal or submissive," "passive," and "oriental," and to the latter the adjectives "legislative, creative, organizing, or masterful," and "active," calling it "a more modern and much less abundant type of mind."
Observing that these two minds reach "divergent and incompatible consequences" in the spheres of morality and public affairs, Wells analyzes the reasons for which the past-oriented mind predominates and asserts that this is principally due to the evidently greater knowability of the personal past as compared to the future. But he argues that the inference from this attitude that the future is essentially unknowable does not square with "modern science, that is to say the relentless systematic criticism of phenomena." Not only has science made us knowledgeable about a distant, impersonal past, it also regards the ability successfully to predict to be a criterion of validity. Though the unpredictability of human behavior complicates the problem, the fact that "as individuals increase in number they begin to average out" means that "an inductive knowledge of a great number of things in the future is becoming a human possibility." Confessing himself to be among "those who believe entirely in the forces behind the individual" rather than in individuals themselves as determining causes, Wells argues that there is "no reason why we should not aspire to, and discover and use, safe and servicable, generalizations upon countless issues in the human destiny." But personal prophecy and fortune-telling will never be possible; "the knowledge of the future we may hope to gain will be general and not individual."
Wells devotes the last part of his text to speculations about "the question what is to come after man," considering it "the most persistently fascinating and the most insoluble question in the whole world." He concludes with a statement of personal faith "in the coherency and purpose in the world and in the greatness of human destiny." | One is active and one is passive |
What is reached by these two types? | gutenberg | Wells begins by distinguishing between "two divergent types of mind," one that judges and attaches importance principally to what has happened in the past and one that judges and attaches importance principally to what will happen in the future. To the former he attributes the adjectives "legal or submissive," "passive," and "oriental," and to the latter the adjectives "legislative, creative, organizing, or masterful," and "active," calling it "a more modern and much less abundant type of mind."
Observing that these two minds reach "divergent and incompatible consequences" in the spheres of morality and public affairs, Wells analyzes the reasons for which the past-oriented mind predominates and asserts that this is principally due to the evidently greater knowability of the personal past as compared to the future. But he argues that the inference from this attitude that the future is essentially unknowable does not square with "modern science, that is to say the relentless systematic criticism of phenomena." Not only has science made us knowledgeable about a distant, impersonal past, it also regards the ability successfully to predict to be a criterion of validity. Though the unpredictability of human behavior complicates the problem, the fact that "as individuals increase in number they begin to average out" means that "an inductive knowledge of a great number of things in the future is becoming a human possibility." Confessing himself to be among "those who believe entirely in the forces behind the individual" rather than in individuals themselves as determining causes, Wells argues that there is "no reason why we should not aspire to, and discover and use, safe and servicable, generalizations upon countless issues in the human destiny." But personal prophecy and fortune-telling will never be possible; "the knowledge of the future we may hope to gain will be general and not individual."
Wells devotes the last part of his text to speculations about "the question what is to come after man," considering it "the most persistently fascinating and the most insoluble question in the whole world." He concludes with a statement of personal faith "in the coherency and purpose in the world and in the greatness of human destiny." | Divergent and incompatible consequences |
What has science made knowledgeable? | gutenberg | Wells begins by distinguishing between "two divergent types of mind," one that judges and attaches importance principally to what has happened in the past and one that judges and attaches importance principally to what will happen in the future. To the former he attributes the adjectives "legal or submissive," "passive," and "oriental," and to the latter the adjectives "legislative, creative, organizing, or masterful," and "active," calling it "a more modern and much less abundant type of mind."
Observing that these two minds reach "divergent and incompatible consequences" in the spheres of morality and public affairs, Wells analyzes the reasons for which the past-oriented mind predominates and asserts that this is principally due to the evidently greater knowability of the personal past as compared to the future. But he argues that the inference from this attitude that the future is essentially unknowable does not square with "modern science, that is to say the relentless systematic criticism of phenomena." Not only has science made us knowledgeable about a distant, impersonal past, it also regards the ability successfully to predict to be a criterion of validity. Though the unpredictability of human behavior complicates the problem, the fact that "as individuals increase in number they begin to average out" means that "an inductive knowledge of a great number of things in the future is becoming a human possibility." Confessing himself to be among "those who believe entirely in the forces behind the individual" rather than in individuals themselves as determining causes, Wells argues that there is "no reason why we should not aspire to, and discover and use, safe and servicable, generalizations upon countless issues in the human destiny." But personal prophecy and fortune-telling will never be possible; "the knowledge of the future we may hope to gain will be general and not individual."
Wells devotes the last part of his text to speculations about "the question what is to come after man," considering it "the most persistently fascinating and the most insoluble question in the whole world." He concludes with a statement of personal faith "in the coherency and purpose in the world and in the greatness of human destiny." | a distant past |
What complicates the problem? | gutenberg | Wells begins by distinguishing between "two divergent types of mind," one that judges and attaches importance principally to what has happened in the past and one that judges and attaches importance principally to what will happen in the future. To the former he attributes the adjectives "legal or submissive," "passive," and "oriental," and to the latter the adjectives "legislative, creative, organizing, or masterful," and "active," calling it "a more modern and much less abundant type of mind."
Observing that these two minds reach "divergent and incompatible consequences" in the spheres of morality and public affairs, Wells analyzes the reasons for which the past-oriented mind predominates and asserts that this is principally due to the evidently greater knowability of the personal past as compared to the future. But he argues that the inference from this attitude that the future is essentially unknowable does not square with "modern science, that is to say the relentless systematic criticism of phenomena." Not only has science made us knowledgeable about a distant, impersonal past, it also regards the ability successfully to predict to be a criterion of validity. Though the unpredictability of human behavior complicates the problem, the fact that "as individuals increase in number they begin to average out" means that "an inductive knowledge of a great number of things in the future is becoming a human possibility." Confessing himself to be among "those who believe entirely in the forces behind the individual" rather than in individuals themselves as determining causes, Wells argues that there is "no reason why we should not aspire to, and discover and use, safe and servicable, generalizations upon countless issues in the human destiny." But personal prophecy and fortune-telling will never be possible; "the knowledge of the future we may hope to gain will be general and not individual."
Wells devotes the last part of his text to speculations about "the question what is to come after man," considering it "the most persistently fascinating and the most insoluble question in the whole world." He concludes with a statement of personal faith "in the coherency and purpose in the world and in the greatness of human destiny." | Unpredictability |
What type of telling will never be possible? | gutenberg | Wells begins by distinguishing between "two divergent types of mind," one that judges and attaches importance principally to what has happened in the past and one that judges and attaches importance principally to what will happen in the future. To the former he attributes the adjectives "legal or submissive," "passive," and "oriental," and to the latter the adjectives "legislative, creative, organizing, or masterful," and "active," calling it "a more modern and much less abundant type of mind."
Observing that these two minds reach "divergent and incompatible consequences" in the spheres of morality and public affairs, Wells analyzes the reasons for which the past-oriented mind predominates and asserts that this is principally due to the evidently greater knowability of the personal past as compared to the future. But he argues that the inference from this attitude that the future is essentially unknowable does not square with "modern science, that is to say the relentless systematic criticism of phenomena." Not only has science made us knowledgeable about a distant, impersonal past, it also regards the ability successfully to predict to be a criterion of validity. Though the unpredictability of human behavior complicates the problem, the fact that "as individuals increase in number they begin to average out" means that "an inductive knowledge of a great number of things in the future is becoming a human possibility." Confessing himself to be among "those who believe entirely in the forces behind the individual" rather than in individuals themselves as determining causes, Wells argues that there is "no reason why we should not aspire to, and discover and use, safe and servicable, generalizations upon countless issues in the human destiny." But personal prophecy and fortune-telling will never be possible; "the knowledge of the future we may hope to gain will be general and not individual."
Wells devotes the last part of his text to speculations about "the question what is to come after man," considering it "the most persistently fascinating and the most insoluble question in the whole world." He concludes with a statement of personal faith "in the coherency and purpose in the world and in the greatness of human destiny." | Fortune telling |
What does wells claim about the future knowledge? | gutenberg | Wells begins by distinguishing between "two divergent types of mind," one that judges and attaches importance principally to what has happened in the past and one that judges and attaches importance principally to what will happen in the future. To the former he attributes the adjectives "legal or submissive," "passive," and "oriental," and to the latter the adjectives "legislative, creative, organizing, or masterful," and "active," calling it "a more modern and much less abundant type of mind."
Observing that these two minds reach "divergent and incompatible consequences" in the spheres of morality and public affairs, Wells analyzes the reasons for which the past-oriented mind predominates and asserts that this is principally due to the evidently greater knowability of the personal past as compared to the future. But he argues that the inference from this attitude that the future is essentially unknowable does not square with "modern science, that is to say the relentless systematic criticism of phenomena." Not only has science made us knowledgeable about a distant, impersonal past, it also regards the ability successfully to predict to be a criterion of validity. Though the unpredictability of human behavior complicates the problem, the fact that "as individuals increase in number they begin to average out" means that "an inductive knowledge of a great number of things in the future is becoming a human possibility." Confessing himself to be among "those who believe entirely in the forces behind the individual" rather than in individuals themselves as determining causes, Wells argues that there is "no reason why we should not aspire to, and discover and use, safe and servicable, generalizations upon countless issues in the human destiny." But personal prophecy and fortune-telling will never be possible; "the knowledge of the future we may hope to gain will be general and not individual."
Wells devotes the last part of his text to speculations about "the question what is to come after man," considering it "the most persistently fascinating and the most insoluble question in the whole world." He concludes with a statement of personal faith "in the coherency and purpose in the world and in the greatness of human destiny." | It Will be general and not individual |
What does wells speculate about finally ? | gutenberg | Wells begins by distinguishing between "two divergent types of mind," one that judges and attaches importance principally to what has happened in the past and one that judges and attaches importance principally to what will happen in the future. To the former he attributes the adjectives "legal or submissive," "passive," and "oriental," and to the latter the adjectives "legislative, creative, organizing, or masterful," and "active," calling it "a more modern and much less abundant type of mind."
Observing that these two minds reach "divergent and incompatible consequences" in the spheres of morality and public affairs, Wells analyzes the reasons for which the past-oriented mind predominates and asserts that this is principally due to the evidently greater knowability of the personal past as compared to the future. But he argues that the inference from this attitude that the future is essentially unknowable does not square with "modern science, that is to say the relentless systematic criticism of phenomena." Not only has science made us knowledgeable about a distant, impersonal past, it also regards the ability successfully to predict to be a criterion of validity. Though the unpredictability of human behavior complicates the problem, the fact that "as individuals increase in number they begin to average out" means that "an inductive knowledge of a great number of things in the future is becoming a human possibility." Confessing himself to be among "those who believe entirely in the forces behind the individual" rather than in individuals themselves as determining causes, Wells argues that there is "no reason why we should not aspire to, and discover and use, safe and servicable, generalizations upon countless issues in the human destiny." But personal prophecy and fortune-telling will never be possible; "the knowledge of the future we may hope to gain will be general and not individual."
Wells devotes the last part of his text to speculations about "the question what is to come after man," considering it "the most persistently fascinating and the most insoluble question in the whole world." He concludes with a statement of personal faith "in the coherency and purpose in the world and in the greatness of human destiny." | What is to come after man |
What does wells consider his final question? | gutenberg | Wells begins by distinguishing between "two divergent types of mind," one that judges and attaches importance principally to what has happened in the past and one that judges and attaches importance principally to what will happen in the future. To the former he attributes the adjectives "legal or submissive," "passive," and "oriental," and to the latter the adjectives "legislative, creative, organizing, or masterful," and "active," calling it "a more modern and much less abundant type of mind."
Observing that these two minds reach "divergent and incompatible consequences" in the spheres of morality and public affairs, Wells analyzes the reasons for which the past-oriented mind predominates and asserts that this is principally due to the evidently greater knowability of the personal past as compared to the future. But he argues that the inference from this attitude that the future is essentially unknowable does not square with "modern science, that is to say the relentless systematic criticism of phenomena." Not only has science made us knowledgeable about a distant, impersonal past, it also regards the ability successfully to predict to be a criterion of validity. Though the unpredictability of human behavior complicates the problem, the fact that "as individuals increase in number they begin to average out" means that "an inductive knowledge of a great number of things in the future is becoming a human possibility." Confessing himself to be among "those who believe entirely in the forces behind the individual" rather than in individuals themselves as determining causes, Wells argues that there is "no reason why we should not aspire to, and discover and use, safe and servicable, generalizations upon countless issues in the human destiny." But personal prophecy and fortune-telling will never be possible; "the knowledge of the future we may hope to gain will be general and not individual."
Wells devotes the last part of his text to speculations about "the question what is to come after man," considering it "the most persistently fascinating and the most insoluble question in the whole world." He concludes with a statement of personal faith "in the coherency and purpose in the world and in the greatness of human destiny." | The most insoluble question in the world |
What does wells conclude with? | gutenberg | Wells begins by distinguishing between "two divergent types of mind," one that judges and attaches importance principally to what has happened in the past and one that judges and attaches importance principally to what will happen in the future. To the former he attributes the adjectives "legal or submissive," "passive," and "oriental," and to the latter the adjectives "legislative, creative, organizing, or masterful," and "active," calling it "a more modern and much less abundant type of mind."
Observing that these two minds reach "divergent and incompatible consequences" in the spheres of morality and public affairs, Wells analyzes the reasons for which the past-oriented mind predominates and asserts that this is principally due to the evidently greater knowability of the personal past as compared to the future. But he argues that the inference from this attitude that the future is essentially unknowable does not square with "modern science, that is to say the relentless systematic criticism of phenomena." Not only has science made us knowledgeable about a distant, impersonal past, it also regards the ability successfully to predict to be a criterion of validity. Though the unpredictability of human behavior complicates the problem, the fact that "as individuals increase in number they begin to average out" means that "an inductive knowledge of a great number of things in the future is becoming a human possibility." Confessing himself to be among "those who believe entirely in the forces behind the individual" rather than in individuals themselves as determining causes, Wells argues that there is "no reason why we should not aspire to, and discover and use, safe and servicable, generalizations upon countless issues in the human destiny." But personal prophecy and fortune-telling will never be possible; "the knowledge of the future we may hope to gain will be general and not individual."
Wells devotes the last part of his text to speculations about "the question what is to come after man," considering it "the most persistently fascinating and the most insoluble question in the whole world." He concludes with a statement of personal faith "in the coherency and purpose in the world and in the greatness of human destiny." | A statement of personal faith. |
Who stated the discovery of future ? | gutenberg | Wells begins by distinguishing between "two divergent types of mind," one that judges and attaches importance principally to what has happened in the past and one that judges and attaches importance principally to what will happen in the future. To the former he attributes the adjectives "legal or submissive," "passive," and "oriental," and to the latter the adjectives "legislative, creative, organizing, or masterful," and "active," calling it "a more modern and much less abundant type of mind."
Observing that these two minds reach "divergent and incompatible consequences" in the spheres of morality and public affairs, Wells analyzes the reasons for which the past-oriented mind predominates and asserts that this is principally due to the evidently greater knowability of the personal past as compared to the future. But he argues that the inference from this attitude that the future is essentially unknowable does not square with "modern science, that is to say the relentless systematic criticism of phenomena." Not only has science made us knowledgeable about a distant, impersonal past, it also regards the ability successfully to predict to be a criterion of validity. Though the unpredictability of human behavior complicates the problem, the fact that "as individuals increase in number they begin to average out" means that "an inductive knowledge of a great number of things in the future is becoming a human possibility." Confessing himself to be among "those who believe entirely in the forces behind the individual" rather than in individuals themselves as determining causes, Wells argues that there is "no reason why we should not aspire to, and discover and use, safe and servicable, generalizations upon countless issues in the human destiny." But personal prophecy and fortune-telling will never be possible; "the knowledge of the future we may hope to gain will be general and not individual."
Wells devotes the last part of his text to speculations about "the question what is to come after man," considering it "the most persistently fascinating and the most insoluble question in the whole world." He concludes with a statement of personal faith "in the coherency and purpose in the world and in the greatness of human destiny." | Wells. |
Between which factors did wells started distinguish with ? | gutenberg | Wells begins by distinguishing between "two divergent types of mind," one that judges and attaches importance principally to what has happened in the past and one that judges and attaches importance principally to what will happen in the future. To the former he attributes the adjectives "legal or submissive," "passive," and "oriental," and to the latter the adjectives "legislative, creative, organizing, or masterful," and "active," calling it "a more modern and much less abundant type of mind."
Observing that these two minds reach "divergent and incompatible consequences" in the spheres of morality and public affairs, Wells analyzes the reasons for which the past-oriented mind predominates and asserts that this is principally due to the evidently greater knowability of the personal past as compared to the future. But he argues that the inference from this attitude that the future is essentially unknowable does not square with "modern science, that is to say the relentless systematic criticism of phenomena." Not only has science made us knowledgeable about a distant, impersonal past, it also regards the ability successfully to predict to be a criterion of validity. Though the unpredictability of human behavior complicates the problem, the fact that "as individuals increase in number they begin to average out" means that "an inductive knowledge of a great number of things in the future is becoming a human possibility." Confessing himself to be among "those who believe entirely in the forces behind the individual" rather than in individuals themselves as determining causes, Wells argues that there is "no reason why we should not aspire to, and discover and use, safe and servicable, generalizations upon countless issues in the human destiny." But personal prophecy and fortune-telling will never be possible; "the knowledge of the future we may hope to gain will be general and not individual."
Wells devotes the last part of his text to speculations about "the question what is to come after man," considering it "the most persistently fascinating and the most insoluble question in the whole world." He concludes with a statement of personal faith "in the coherency and purpose in the world and in the greatness of human destiny." | Two divergent types of mind. |
Which adjectives Well attributes to the former ? | gutenberg | Wells begins by distinguishing between "two divergent types of mind," one that judges and attaches importance principally to what has happened in the past and one that judges and attaches importance principally to what will happen in the future. To the former he attributes the adjectives "legal or submissive," "passive," and "oriental," and to the latter the adjectives "legislative, creative, organizing, or masterful," and "active," calling it "a more modern and much less abundant type of mind."
Observing that these two minds reach "divergent and incompatible consequences" in the spheres of morality and public affairs, Wells analyzes the reasons for which the past-oriented mind predominates and asserts that this is principally due to the evidently greater knowability of the personal past as compared to the future. But he argues that the inference from this attitude that the future is essentially unknowable does not square with "modern science, that is to say the relentless systematic criticism of phenomena." Not only has science made us knowledgeable about a distant, impersonal past, it also regards the ability successfully to predict to be a criterion of validity. Though the unpredictability of human behavior complicates the problem, the fact that "as individuals increase in number they begin to average out" means that "an inductive knowledge of a great number of things in the future is becoming a human possibility." Confessing himself to be among "those who believe entirely in the forces behind the individual" rather than in individuals themselves as determining causes, Wells argues that there is "no reason why we should not aspire to, and discover and use, safe and servicable, generalizations upon countless issues in the human destiny." But personal prophecy and fortune-telling will never be possible; "the knowledge of the future we may hope to gain will be general and not individual."
Wells devotes the last part of his text to speculations about "the question what is to come after man," considering it "the most persistently fascinating and the most insoluble question in the whole world." He concludes with a statement of personal faith "in the coherency and purpose in the world and in the greatness of human destiny." | Legal, passive and oriental. |
Which two factors are not possible ? | gutenberg | Wells begins by distinguishing between "two divergent types of mind," one that judges and attaches importance principally to what has happened in the past and one that judges and attaches importance principally to what will happen in the future. To the former he attributes the adjectives "legal or submissive," "passive," and "oriental," and to the latter the adjectives "legislative, creative, organizing, or masterful," and "active," calling it "a more modern and much less abundant type of mind."
Observing that these two minds reach "divergent and incompatible consequences" in the spheres of morality and public affairs, Wells analyzes the reasons for which the past-oriented mind predominates and asserts that this is principally due to the evidently greater knowability of the personal past as compared to the future. But he argues that the inference from this attitude that the future is essentially unknowable does not square with "modern science, that is to say the relentless systematic criticism of phenomena." Not only has science made us knowledgeable about a distant, impersonal past, it also regards the ability successfully to predict to be a criterion of validity. Though the unpredictability of human behavior complicates the problem, the fact that "as individuals increase in number they begin to average out" means that "an inductive knowledge of a great number of things in the future is becoming a human possibility." Confessing himself to be among "those who believe entirely in the forces behind the individual" rather than in individuals themselves as determining causes, Wells argues that there is "no reason why we should not aspire to, and discover and use, safe and servicable, generalizations upon countless issues in the human destiny." But personal prophecy and fortune-telling will never be possible; "the knowledge of the future we may hope to gain will be general and not individual."
Wells devotes the last part of his text to speculations about "the question what is to come after man," considering it "the most persistently fascinating and the most insoluble question in the whole world." He concludes with a statement of personal faith "in the coherency and purpose in the world and in the greatness of human destiny." | Personal prophecy and fortune telling. |
Which part of human behavior complicates the problem ? | gutenberg | Wells begins by distinguishing between "two divergent types of mind," one that judges and attaches importance principally to what has happened in the past and one that judges and attaches importance principally to what will happen in the future. To the former he attributes the adjectives "legal or submissive," "passive," and "oriental," and to the latter the adjectives "legislative, creative, organizing, or masterful," and "active," calling it "a more modern and much less abundant type of mind."
Observing that these two minds reach "divergent and incompatible consequences" in the spheres of morality and public affairs, Wells analyzes the reasons for which the past-oriented mind predominates and asserts that this is principally due to the evidently greater knowability of the personal past as compared to the future. But he argues that the inference from this attitude that the future is essentially unknowable does not square with "modern science, that is to say the relentless systematic criticism of phenomena." Not only has science made us knowledgeable about a distant, impersonal past, it also regards the ability successfully to predict to be a criterion of validity. Though the unpredictability of human behavior complicates the problem, the fact that "as individuals increase in number they begin to average out" means that "an inductive knowledge of a great number of things in the future is becoming a human possibility." Confessing himself to be among "those who believe entirely in the forces behind the individual" rather than in individuals themselves as determining causes, Wells argues that there is "no reason why we should not aspire to, and discover and use, safe and servicable, generalizations upon countless issues in the human destiny." But personal prophecy and fortune-telling will never be possible; "the knowledge of the future we may hope to gain will be general and not individual."
Wells devotes the last part of his text to speculations about "the question what is to come after man," considering it "the most persistently fascinating and the most insoluble question in the whole world." He concludes with a statement of personal faith "in the coherency and purpose in the world and in the greatness of human destiny." | Unpredictability. |
What did Wells analyze ? | gutenberg | Wells begins by distinguishing between "two divergent types of mind," one that judges and attaches importance principally to what has happened in the past and one that judges and attaches importance principally to what will happen in the future. To the former he attributes the adjectives "legal or submissive," "passive," and "oriental," and to the latter the adjectives "legislative, creative, organizing, or masterful," and "active," calling it "a more modern and much less abundant type of mind."
Observing that these two minds reach "divergent and incompatible consequences" in the spheres of morality and public affairs, Wells analyzes the reasons for which the past-oriented mind predominates and asserts that this is principally due to the evidently greater knowability of the personal past as compared to the future. But he argues that the inference from this attitude that the future is essentially unknowable does not square with "modern science, that is to say the relentless systematic criticism of phenomena." Not only has science made us knowledgeable about a distant, impersonal past, it also regards the ability successfully to predict to be a criterion of validity. Though the unpredictability of human behavior complicates the problem, the fact that "as individuals increase in number they begin to average out" means that "an inductive knowledge of a great number of things in the future is becoming a human possibility." Confessing himself to be among "those who believe entirely in the forces behind the individual" rather than in individuals themselves as determining causes, Wells argues that there is "no reason why we should not aspire to, and discover and use, safe and servicable, generalizations upon countless issues in the human destiny." But personal prophecy and fortune-telling will never be possible; "the knowledge of the future we may hope to gain will be general and not individual."
Wells devotes the last part of his text to speculations about "the question what is to come after man," considering it "the most persistently fascinating and the most insoluble question in the whole world." He concludes with a statement of personal faith "in the coherency and purpose in the world and in the greatness of human destiny." | Well analyzes the reason for which the past oriented mind predominates. |
What does well tell about personal prophecy ? | gutenberg | Wells begins by distinguishing between "two divergent types of mind," one that judges and attaches importance principally to what has happened in the past and one that judges and attaches importance principally to what will happen in the future. To the former he attributes the adjectives "legal or submissive," "passive," and "oriental," and to the latter the adjectives "legislative, creative, organizing, or masterful," and "active," calling it "a more modern and much less abundant type of mind."
Observing that these two minds reach "divergent and incompatible consequences" in the spheres of morality and public affairs, Wells analyzes the reasons for which the past-oriented mind predominates and asserts that this is principally due to the evidently greater knowability of the personal past as compared to the future. But he argues that the inference from this attitude that the future is essentially unknowable does not square with "modern science, that is to say the relentless systematic criticism of phenomena." Not only has science made us knowledgeable about a distant, impersonal past, it also regards the ability successfully to predict to be a criterion of validity. Though the unpredictability of human behavior complicates the problem, the fact that "as individuals increase in number they begin to average out" means that "an inductive knowledge of a great number of things in the future is becoming a human possibility." Confessing himself to be among "those who believe entirely in the forces behind the individual" rather than in individuals themselves as determining causes, Wells argues that there is "no reason why we should not aspire to, and discover and use, safe and servicable, generalizations upon countless issues in the human destiny." But personal prophecy and fortune-telling will never be possible; "the knowledge of the future we may hope to gain will be general and not individual."
Wells devotes the last part of his text to speculations about "the question what is to come after man," considering it "the most persistently fascinating and the most insoluble question in the whole world." He concludes with a statement of personal faith "in the coherency and purpose in the world and in the greatness of human destiny." | The knowledge of future we may hope to gain will be general not individual. |
What does he tell about modern science ? | gutenberg | Wells begins by distinguishing between "two divergent types of mind," one that judges and attaches importance principally to what has happened in the past and one that judges and attaches importance principally to what will happen in the future. To the former he attributes the adjectives "legal or submissive," "passive," and "oriental," and to the latter the adjectives "legislative, creative, organizing, or masterful," and "active," calling it "a more modern and much less abundant type of mind."
Observing that these two minds reach "divergent and incompatible consequences" in the spheres of morality and public affairs, Wells analyzes the reasons for which the past-oriented mind predominates and asserts that this is principally due to the evidently greater knowability of the personal past as compared to the future. But he argues that the inference from this attitude that the future is essentially unknowable does not square with "modern science, that is to say the relentless systematic criticism of phenomena." Not only has science made us knowledgeable about a distant, impersonal past, it also regards the ability successfully to predict to be a criterion of validity. Though the unpredictability of human behavior complicates the problem, the fact that "as individuals increase in number they begin to average out" means that "an inductive knowledge of a great number of things in the future is becoming a human possibility." Confessing himself to be among "those who believe entirely in the forces behind the individual" rather than in individuals themselves as determining causes, Wells argues that there is "no reason why we should not aspire to, and discover and use, safe and servicable, generalizations upon countless issues in the human destiny." But personal prophecy and fortune-telling will never be possible; "the knowledge of the future we may hope to gain will be general and not individual."
Wells devotes the last part of his text to speculations about "the question what is to come after man," considering it "the most persistently fascinating and the most insoluble question in the whole world." He concludes with a statement of personal faith "in the coherency and purpose in the world and in the greatness of human destiny." | The relentless systematic criticism of phenomena. |
What was about the last part of his text ? | gutenberg | Wells begins by distinguishing between "two divergent types of mind," one that judges and attaches importance principally to what has happened in the past and one that judges and attaches importance principally to what will happen in the future. To the former he attributes the adjectives "legal or submissive," "passive," and "oriental," and to the latter the adjectives "legislative, creative, organizing, or masterful," and "active," calling it "a more modern and much less abundant type of mind."
Observing that these two minds reach "divergent and incompatible consequences" in the spheres of morality and public affairs, Wells analyzes the reasons for which the past-oriented mind predominates and asserts that this is principally due to the evidently greater knowability of the personal past as compared to the future. But he argues that the inference from this attitude that the future is essentially unknowable does not square with "modern science, that is to say the relentless systematic criticism of phenomena." Not only has science made us knowledgeable about a distant, impersonal past, it also regards the ability successfully to predict to be a criterion of validity. Though the unpredictability of human behavior complicates the problem, the fact that "as individuals increase in number they begin to average out" means that "an inductive knowledge of a great number of things in the future is becoming a human possibility." Confessing himself to be among "those who believe entirely in the forces behind the individual" rather than in individuals themselves as determining causes, Wells argues that there is "no reason why we should not aspire to, and discover and use, safe and servicable, generalizations upon countless issues in the human destiny." But personal prophecy and fortune-telling will never be possible; "the knowledge of the future we may hope to gain will be general and not individual."
Wells devotes the last part of his text to speculations about "the question what is to come after man," considering it "the most persistently fascinating and the most insoluble question in the whole world." He concludes with a statement of personal faith "in the coherency and purpose in the world and in the greatness of human destiny." | The question that is come after man. |
During Tristram's diffcult birth Dr. Slop's forceps did what to Tristram? | gutenberg | As its title suggests, the book is ostensibly Tristram's narration of his life story. But it is one of the central jokes of the novel that he cannot explain anything simply, that he must make explanatory diversions to add context and colour to his tale, to the extent that Tristram's own birth is not even reached until Volume III.
Consequently, apart from Tristram as narrator, the most familiar and important characters in the book are his father Walter, his mother, his Uncle Toby, Toby's servant Trim, and a supporting cast of popular minor characters, including the chambermaid, Susannah, Doctor Slop, and the parson, Yorick, who later became Sterne's favourite nom de plume and a very successful publicity stunt. Yorick is also the protagonist of Sterne's second work of fiction A Sentimental Journey Through France and Italy.
Most of the action is concerned with domestic upsets or misunderstandings, which find humour in the opposing temperaments of Walterâsplenetic, rational, and somewhat sarcasticâand Uncle Toby, who is gentle, uncomplicated, and a lover of his fellow man.
In between such events, Tristram as narrator finds himself discoursing at length on sexual practices, insults, the influence of one's name, and noses, as well as explorations of obstetrics, siege warfare, and philosophy as he struggles to marshal his material and finish the story of his life.
Though Tristram is always present as narrator and commentator, the book contains little of his life, only the story of a trip through France and accounts of the four comical mishaps which shaped the course of his life from an early age. Firstly, while still only a homunculus, Tristram's implantation within his mother's womb was disturbed. At the very moment of procreation, his mother asked his father if he had remembered to wind the clock. The distraction and annoyance led to the disruption of the proper balance of humours necessary to conceive a well-favoured child. Secondly, one of his father's pet theories was that a large and attractive nose was important to a man making his way in life. In a difficult birth, Tristram's nose was crushed by Dr. Slop's forceps. Thirdly, another of his father's theories was that a person's name exerted enormous influence over that person's nature and fortunes, with the worst possible name being Tristram. In view of the previous accidents, Tristram's father decreed that the boy would receive an especially auspicious name, Trismegistus. Susannah mangled the name in conveying it to the curate, and the child was christened Tristram. According to his father's theory, his name, being a conflation of "Trismegistus" (after the esoteric mystic Hermes Trismegistus) and "Tristan" (whose connotation bore the influence through folk etymology of Latin tristis, "sorrowful"), doomed him to a life of woe and cursed him with the inability to comprehend the causes of his misfortune.
Finally, as a toddler, Tristram suffered an accidental circumcision when Susannah let a window sash fall as he urinated out of the window because his chamberpot was missing. | crushed his nose |
Due to the accidents that have occured what auspicious name does Tristram's father want him named? | gutenberg | As its title suggests, the book is ostensibly Tristram's narration of his life story. But it is one of the central jokes of the novel that he cannot explain anything simply, that he must make explanatory diversions to add context and colour to his tale, to the extent that Tristram's own birth is not even reached until Volume III.
Consequently, apart from Tristram as narrator, the most familiar and important characters in the book are his father Walter, his mother, his Uncle Toby, Toby's servant Trim, and a supporting cast of popular minor characters, including the chambermaid, Susannah, Doctor Slop, and the parson, Yorick, who later became Sterne's favourite nom de plume and a very successful publicity stunt. Yorick is also the protagonist of Sterne's second work of fiction A Sentimental Journey Through France and Italy.
Most of the action is concerned with domestic upsets or misunderstandings, which find humour in the opposing temperaments of Walterâsplenetic, rational, and somewhat sarcasticâand Uncle Toby, who is gentle, uncomplicated, and a lover of his fellow man.
In between such events, Tristram as narrator finds himself discoursing at length on sexual practices, insults, the influence of one's name, and noses, as well as explorations of obstetrics, siege warfare, and philosophy as he struggles to marshal his material and finish the story of his life.
Though Tristram is always present as narrator and commentator, the book contains little of his life, only the story of a trip through France and accounts of the four comical mishaps which shaped the course of his life from an early age. Firstly, while still only a homunculus, Tristram's implantation within his mother's womb was disturbed. At the very moment of procreation, his mother asked his father if he had remembered to wind the clock. The distraction and annoyance led to the disruption of the proper balance of humours necessary to conceive a well-favoured child. Secondly, one of his father's pet theories was that a large and attractive nose was important to a man making his way in life. In a difficult birth, Tristram's nose was crushed by Dr. Slop's forceps. Thirdly, another of his father's theories was that a person's name exerted enormous influence over that person's nature and fortunes, with the worst possible name being Tristram. In view of the previous accidents, Tristram's father decreed that the boy would receive an especially auspicious name, Trismegistus. Susannah mangled the name in conveying it to the curate, and the child was christened Tristram. According to his father's theory, his name, being a conflation of "Trismegistus" (after the esoteric mystic Hermes Trismegistus) and "Tristan" (whose connotation bore the influence through folk etymology of Latin tristis, "sorrowful"), doomed him to a life of woe and cursed him with the inability to comprehend the causes of his misfortune.
Finally, as a toddler, Tristram suffered an accidental circumcision when Susannah let a window sash fall as he urinated out of the window because his chamberpot was missing. | Trismegistus |
Susannah mangled the name in conveying it to whom so that he was christened Tristram? | gutenberg | As its title suggests, the book is ostensibly Tristram's narration of his life story. But it is one of the central jokes of the novel that he cannot explain anything simply, that he must make explanatory diversions to add context and colour to his tale, to the extent that Tristram's own birth is not even reached until Volume III.
Consequently, apart from Tristram as narrator, the most familiar and important characters in the book are his father Walter, his mother, his Uncle Toby, Toby's servant Trim, and a supporting cast of popular minor characters, including the chambermaid, Susannah, Doctor Slop, and the parson, Yorick, who later became Sterne's favourite nom de plume and a very successful publicity stunt. Yorick is also the protagonist of Sterne's second work of fiction A Sentimental Journey Through France and Italy.
Most of the action is concerned with domestic upsets or misunderstandings, which find humour in the opposing temperaments of Walterâsplenetic, rational, and somewhat sarcasticâand Uncle Toby, who is gentle, uncomplicated, and a lover of his fellow man.
In between such events, Tristram as narrator finds himself discoursing at length on sexual practices, insults, the influence of one's name, and noses, as well as explorations of obstetrics, siege warfare, and philosophy as he struggles to marshal his material and finish the story of his life.
Though Tristram is always present as narrator and commentator, the book contains little of his life, only the story of a trip through France and accounts of the four comical mishaps which shaped the course of his life from an early age. Firstly, while still only a homunculus, Tristram's implantation within his mother's womb was disturbed. At the very moment of procreation, his mother asked his father if he had remembered to wind the clock. The distraction and annoyance led to the disruption of the proper balance of humours necessary to conceive a well-favoured child. Secondly, one of his father's pet theories was that a large and attractive nose was important to a man making his way in life. In a difficult birth, Tristram's nose was crushed by Dr. Slop's forceps. Thirdly, another of his father's theories was that a person's name exerted enormous influence over that person's nature and fortunes, with the worst possible name being Tristram. In view of the previous accidents, Tristram's father decreed that the boy would receive an especially auspicious name, Trismegistus. Susannah mangled the name in conveying it to the curate, and the child was christened Tristram. According to his father's theory, his name, being a conflation of "Trismegistus" (after the esoteric mystic Hermes Trismegistus) and "Tristan" (whose connotation bore the influence through folk etymology of Latin tristis, "sorrowful"), doomed him to a life of woe and cursed him with the inability to comprehend the causes of his misfortune.
Finally, as a toddler, Tristram suffered an accidental circumcision when Susannah let a window sash fall as he urinated out of the window because his chamberpot was missing. | Curate |
A large and attractive nose is what numbered pet theory of Tristram's father? | gutenberg | As its title suggests, the book is ostensibly Tristram's narration of his life story. But it is one of the central jokes of the novel that he cannot explain anything simply, that he must make explanatory diversions to add context and colour to his tale, to the extent that Tristram's own birth is not even reached until Volume III.
Consequently, apart from Tristram as narrator, the most familiar and important characters in the book are his father Walter, his mother, his Uncle Toby, Toby's servant Trim, and a supporting cast of popular minor characters, including the chambermaid, Susannah, Doctor Slop, and the parson, Yorick, who later became Sterne's favourite nom de plume and a very successful publicity stunt. Yorick is also the protagonist of Sterne's second work of fiction A Sentimental Journey Through France and Italy.
Most of the action is concerned with domestic upsets or misunderstandings, which find humour in the opposing temperaments of Walterâsplenetic, rational, and somewhat sarcasticâand Uncle Toby, who is gentle, uncomplicated, and a lover of his fellow man.
In between such events, Tristram as narrator finds himself discoursing at length on sexual practices, insults, the influence of one's name, and noses, as well as explorations of obstetrics, siege warfare, and philosophy as he struggles to marshal his material and finish the story of his life.
Though Tristram is always present as narrator and commentator, the book contains little of his life, only the story of a trip through France and accounts of the four comical mishaps which shaped the course of his life from an early age. Firstly, while still only a homunculus, Tristram's implantation within his mother's womb was disturbed. At the very moment of procreation, his mother asked his father if he had remembered to wind the clock. The distraction and annoyance led to the disruption of the proper balance of humours necessary to conceive a well-favoured child. Secondly, one of his father's pet theories was that a large and attractive nose was important to a man making his way in life. In a difficult birth, Tristram's nose was crushed by Dr. Slop's forceps. Thirdly, another of his father's theories was that a person's name exerted enormous influence over that person's nature and fortunes, with the worst possible name being Tristram. In view of the previous accidents, Tristram's father decreed that the boy would receive an especially auspicious name, Trismegistus. Susannah mangled the name in conveying it to the curate, and the child was christened Tristram. According to his father's theory, his name, being a conflation of "Trismegistus" (after the esoteric mystic Hermes Trismegistus) and "Tristan" (whose connotation bore the influence through folk etymology of Latin tristis, "sorrowful"), doomed him to a life of woe and cursed him with the inability to comprehend the causes of his misfortune.
Finally, as a toddler, Tristram suffered an accidental circumcision when Susannah let a window sash fall as he urinated out of the window because his chamberpot was missing. | Secondly |
How many comical mishaps does Tristram have that shape his early life? | gutenberg | As its title suggests, the book is ostensibly Tristram's narration of his life story. But it is one of the central jokes of the novel that he cannot explain anything simply, that he must make explanatory diversions to add context and colour to his tale, to the extent that Tristram's own birth is not even reached until Volume III.
Consequently, apart from Tristram as narrator, the most familiar and important characters in the book are his father Walter, his mother, his Uncle Toby, Toby's servant Trim, and a supporting cast of popular minor characters, including the chambermaid, Susannah, Doctor Slop, and the parson, Yorick, who later became Sterne's favourite nom de plume and a very successful publicity stunt. Yorick is also the protagonist of Sterne's second work of fiction A Sentimental Journey Through France and Italy.
Most of the action is concerned with domestic upsets or misunderstandings, which find humour in the opposing temperaments of Walterâsplenetic, rational, and somewhat sarcasticâand Uncle Toby, who is gentle, uncomplicated, and a lover of his fellow man.
In between such events, Tristram as narrator finds himself discoursing at length on sexual practices, insults, the influence of one's name, and noses, as well as explorations of obstetrics, siege warfare, and philosophy as he struggles to marshal his material and finish the story of his life.
Though Tristram is always present as narrator and commentator, the book contains little of his life, only the story of a trip through France and accounts of the four comical mishaps which shaped the course of his life from an early age. Firstly, while still only a homunculus, Tristram's implantation within his mother's womb was disturbed. At the very moment of procreation, his mother asked his father if he had remembered to wind the clock. The distraction and annoyance led to the disruption of the proper balance of humours necessary to conceive a well-favoured child. Secondly, one of his father's pet theories was that a large and attractive nose was important to a man making his way in life. In a difficult birth, Tristram's nose was crushed by Dr. Slop's forceps. Thirdly, another of his father's theories was that a person's name exerted enormous influence over that person's nature and fortunes, with the worst possible name being Tristram. In view of the previous accidents, Tristram's father decreed that the boy would receive an especially auspicious name, Trismegistus. Susannah mangled the name in conveying it to the curate, and the child was christened Tristram. According to his father's theory, his name, being a conflation of "Trismegistus" (after the esoteric mystic Hermes Trismegistus) and "Tristan" (whose connotation bore the influence through folk etymology of Latin tristis, "sorrowful"), doomed him to a life of woe and cursed him with the inability to comprehend the causes of his misfortune.
Finally, as a toddler, Tristram suffered an accidental circumcision when Susannah let a window sash fall as he urinated out of the window because his chamberpot was missing. | four |
Which character is described as gentle, uncomplicated and lover of his fellow man? | gutenberg | As its title suggests, the book is ostensibly Tristram's narration of his life story. But it is one of the central jokes of the novel that he cannot explain anything simply, that he must make explanatory diversions to add context and colour to his tale, to the extent that Tristram's own birth is not even reached until Volume III.
Consequently, apart from Tristram as narrator, the most familiar and important characters in the book are his father Walter, his mother, his Uncle Toby, Toby's servant Trim, and a supporting cast of popular minor characters, including the chambermaid, Susannah, Doctor Slop, and the parson, Yorick, who later became Sterne's favourite nom de plume and a very successful publicity stunt. Yorick is also the protagonist of Sterne's second work of fiction A Sentimental Journey Through France and Italy.
Most of the action is concerned with domestic upsets or misunderstandings, which find humour in the opposing temperaments of Walterâsplenetic, rational, and somewhat sarcasticâand Uncle Toby, who is gentle, uncomplicated, and a lover of his fellow man.
In between such events, Tristram as narrator finds himself discoursing at length on sexual practices, insults, the influence of one's name, and noses, as well as explorations of obstetrics, siege warfare, and philosophy as he struggles to marshal his material and finish the story of his life.
Though Tristram is always present as narrator and commentator, the book contains little of his life, only the story of a trip through France and accounts of the four comical mishaps which shaped the course of his life from an early age. Firstly, while still only a homunculus, Tristram's implantation within his mother's womb was disturbed. At the very moment of procreation, his mother asked his father if he had remembered to wind the clock. The distraction and annoyance led to the disruption of the proper balance of humours necessary to conceive a well-favoured child. Secondly, one of his father's pet theories was that a large and attractive nose was important to a man making his way in life. In a difficult birth, Tristram's nose was crushed by Dr. Slop's forceps. Thirdly, another of his father's theories was that a person's name exerted enormous influence over that person's nature and fortunes, with the worst possible name being Tristram. In view of the previous accidents, Tristram's father decreed that the boy would receive an especially auspicious name, Trismegistus. Susannah mangled the name in conveying it to the curate, and the child was christened Tristram. According to his father's theory, his name, being a conflation of "Trismegistus" (after the esoteric mystic Hermes Trismegistus) and "Tristan" (whose connotation bore the influence through folk etymology of Latin tristis, "sorrowful"), doomed him to a life of woe and cursed him with the inability to comprehend the causes of his misfortune.
Finally, as a toddler, Tristram suffered an accidental circumcision when Susannah let a window sash fall as he urinated out of the window because his chamberpot was missing. | Uncle Toby |
In what volume does Tristram reveal his birth? | gutenberg | As its title suggests, the book is ostensibly Tristram's narration of his life story. But it is one of the central jokes of the novel that he cannot explain anything simply, that he must make explanatory diversions to add context and colour to his tale, to the extent that Tristram's own birth is not even reached until Volume III.
Consequently, apart from Tristram as narrator, the most familiar and important characters in the book are his father Walter, his mother, his Uncle Toby, Toby's servant Trim, and a supporting cast of popular minor characters, including the chambermaid, Susannah, Doctor Slop, and the parson, Yorick, who later became Sterne's favourite nom de plume and a very successful publicity stunt. Yorick is also the protagonist of Sterne's second work of fiction A Sentimental Journey Through France and Italy.
Most of the action is concerned with domestic upsets or misunderstandings, which find humour in the opposing temperaments of Walterâsplenetic, rational, and somewhat sarcasticâand Uncle Toby, who is gentle, uncomplicated, and a lover of his fellow man.
In between such events, Tristram as narrator finds himself discoursing at length on sexual practices, insults, the influence of one's name, and noses, as well as explorations of obstetrics, siege warfare, and philosophy as he struggles to marshal his material and finish the story of his life.
Though Tristram is always present as narrator and commentator, the book contains little of his life, only the story of a trip through France and accounts of the four comical mishaps which shaped the course of his life from an early age. Firstly, while still only a homunculus, Tristram's implantation within his mother's womb was disturbed. At the very moment of procreation, his mother asked his father if he had remembered to wind the clock. The distraction and annoyance led to the disruption of the proper balance of humours necessary to conceive a well-favoured child. Secondly, one of his father's pet theories was that a large and attractive nose was important to a man making his way in life. In a difficult birth, Tristram's nose was crushed by Dr. Slop's forceps. Thirdly, another of his father's theories was that a person's name exerted enormous influence over that person's nature and fortunes, with the worst possible name being Tristram. In view of the previous accidents, Tristram's father decreed that the boy would receive an especially auspicious name, Trismegistus. Susannah mangled the name in conveying it to the curate, and the child was christened Tristram. According to his father's theory, his name, being a conflation of "Trismegistus" (after the esoteric mystic Hermes Trismegistus) and "Tristan" (whose connotation bore the influence through folk etymology of Latin tristis, "sorrowful"), doomed him to a life of woe and cursed him with the inability to comprehend the causes of his misfortune.
Finally, as a toddler, Tristram suffered an accidental circumcision when Susannah let a window sash fall as he urinated out of the window because his chamberpot was missing. | three |
What circumstances led to Tristram having an accidental circumsion as a toddler ? | gutenberg | As its title suggests, the book is ostensibly Tristram's narration of his life story. But it is one of the central jokes of the novel that he cannot explain anything simply, that he must make explanatory diversions to add context and colour to his tale, to the extent that Tristram's own birth is not even reached until Volume III.
Consequently, apart from Tristram as narrator, the most familiar and important characters in the book are his father Walter, his mother, his Uncle Toby, Toby's servant Trim, and a supporting cast of popular minor characters, including the chambermaid, Susannah, Doctor Slop, and the parson, Yorick, who later became Sterne's favourite nom de plume and a very successful publicity stunt. Yorick is also the protagonist of Sterne's second work of fiction A Sentimental Journey Through France and Italy.
Most of the action is concerned with domestic upsets or misunderstandings, which find humour in the opposing temperaments of Walterâsplenetic, rational, and somewhat sarcasticâand Uncle Toby, who is gentle, uncomplicated, and a lover of his fellow man.
In between such events, Tristram as narrator finds himself discoursing at length on sexual practices, insults, the influence of one's name, and noses, as well as explorations of obstetrics, siege warfare, and philosophy as he struggles to marshal his material and finish the story of his life.
Though Tristram is always present as narrator and commentator, the book contains little of his life, only the story of a trip through France and accounts of the four comical mishaps which shaped the course of his life from an early age. Firstly, while still only a homunculus, Tristram's implantation within his mother's womb was disturbed. At the very moment of procreation, his mother asked his father if he had remembered to wind the clock. The distraction and annoyance led to the disruption of the proper balance of humours necessary to conceive a well-favoured child. Secondly, one of his father's pet theories was that a large and attractive nose was important to a man making his way in life. In a difficult birth, Tristram's nose was crushed by Dr. Slop's forceps. Thirdly, another of his father's theories was that a person's name exerted enormous influence over that person's nature and fortunes, with the worst possible name being Tristram. In view of the previous accidents, Tristram's father decreed that the boy would receive an especially auspicious name, Trismegistus. Susannah mangled the name in conveying it to the curate, and the child was christened Tristram. According to his father's theory, his name, being a conflation of "Trismegistus" (after the esoteric mystic Hermes Trismegistus) and "Tristan" (whose connotation bore the influence through folk etymology of Latin tristis, "sorrowful"), doomed him to a life of woe and cursed him with the inability to comprehend the causes of his misfortune.
Finally, as a toddler, Tristram suffered an accidental circumcision when Susannah let a window sash fall as he urinated out of the window because his chamberpot was missing. | Susannah let a window sash fall as Tristram was urinating out the window because his chamberpot was missing. |
At the moment of Tristram's procreation what question does his mother ask his father? | gutenberg | As its title suggests, the book is ostensibly Tristram's narration of his life story. But it is one of the central jokes of the novel that he cannot explain anything simply, that he must make explanatory diversions to add context and colour to his tale, to the extent that Tristram's own birth is not even reached until Volume III.
Consequently, apart from Tristram as narrator, the most familiar and important characters in the book are his father Walter, his mother, his Uncle Toby, Toby's servant Trim, and a supporting cast of popular minor characters, including the chambermaid, Susannah, Doctor Slop, and the parson, Yorick, who later became Sterne's favourite nom de plume and a very successful publicity stunt. Yorick is also the protagonist of Sterne's second work of fiction A Sentimental Journey Through France and Italy.
Most of the action is concerned with domestic upsets or misunderstandings, which find humour in the opposing temperaments of Walterâsplenetic, rational, and somewhat sarcasticâand Uncle Toby, who is gentle, uncomplicated, and a lover of his fellow man.
In between such events, Tristram as narrator finds himself discoursing at length on sexual practices, insults, the influence of one's name, and noses, as well as explorations of obstetrics, siege warfare, and philosophy as he struggles to marshal his material and finish the story of his life.
Though Tristram is always present as narrator and commentator, the book contains little of his life, only the story of a trip through France and accounts of the four comical mishaps which shaped the course of his life from an early age. Firstly, while still only a homunculus, Tristram's implantation within his mother's womb was disturbed. At the very moment of procreation, his mother asked his father if he had remembered to wind the clock. The distraction and annoyance led to the disruption of the proper balance of humours necessary to conceive a well-favoured child. Secondly, one of his father's pet theories was that a large and attractive nose was important to a man making his way in life. In a difficult birth, Tristram's nose was crushed by Dr. Slop's forceps. Thirdly, another of his father's theories was that a person's name exerted enormous influence over that person's nature and fortunes, with the worst possible name being Tristram. In view of the previous accidents, Tristram's father decreed that the boy would receive an especially auspicious name, Trismegistus. Susannah mangled the name in conveying it to the curate, and the child was christened Tristram. According to his father's theory, his name, being a conflation of "Trismegistus" (after the esoteric mystic Hermes Trismegistus) and "Tristan" (whose connotation bore the influence through folk etymology of Latin tristis, "sorrowful"), doomed him to a life of woe and cursed him with the inability to comprehend the causes of his misfortune.
Finally, as a toddler, Tristram suffered an accidental circumcision when Susannah let a window sash fall as he urinated out of the window because his chamberpot was missing. | If he remembered to wind the clock |
One of the jokes of the Novel is that Tristram can not? | gutenberg | As its title suggests, the book is ostensibly Tristram's narration of his life story. But it is one of the central jokes of the novel that he cannot explain anything simply, that he must make explanatory diversions to add context and colour to his tale, to the extent that Tristram's own birth is not even reached until Volume III.
Consequently, apart from Tristram as narrator, the most familiar and important characters in the book are his father Walter, his mother, his Uncle Toby, Toby's servant Trim, and a supporting cast of popular minor characters, including the chambermaid, Susannah, Doctor Slop, and the parson, Yorick, who later became Sterne's favourite nom de plume and a very successful publicity stunt. Yorick is also the protagonist of Sterne's second work of fiction A Sentimental Journey Through France and Italy.
Most of the action is concerned with domestic upsets or misunderstandings, which find humour in the opposing temperaments of Walterâsplenetic, rational, and somewhat sarcasticâand Uncle Toby, who is gentle, uncomplicated, and a lover of his fellow man.
In between such events, Tristram as narrator finds himself discoursing at length on sexual practices, insults, the influence of one's name, and noses, as well as explorations of obstetrics, siege warfare, and philosophy as he struggles to marshal his material and finish the story of his life.
Though Tristram is always present as narrator and commentator, the book contains little of his life, only the story of a trip through France and accounts of the four comical mishaps which shaped the course of his life from an early age. Firstly, while still only a homunculus, Tristram's implantation within his mother's womb was disturbed. At the very moment of procreation, his mother asked his father if he had remembered to wind the clock. The distraction and annoyance led to the disruption of the proper balance of humours necessary to conceive a well-favoured child. Secondly, one of his father's pet theories was that a large and attractive nose was important to a man making his way in life. In a difficult birth, Tristram's nose was crushed by Dr. Slop's forceps. Thirdly, another of his father's theories was that a person's name exerted enormous influence over that person's nature and fortunes, with the worst possible name being Tristram. In view of the previous accidents, Tristram's father decreed that the boy would receive an especially auspicious name, Trismegistus. Susannah mangled the name in conveying it to the curate, and the child was christened Tristram. According to his father's theory, his name, being a conflation of "Trismegistus" (after the esoteric mystic Hermes Trismegistus) and "Tristan" (whose connotation bore the influence through folk etymology of Latin tristis, "sorrowful"), doomed him to a life of woe and cursed him with the inability to comprehend the causes of his misfortune.
Finally, as a toddler, Tristram suffered an accidental circumcision when Susannah let a window sash fall as he urinated out of the window because his chamberpot was missing. | Explain anything simple. |
Why does Tristram make explanatory diversions? | gutenberg | As its title suggests, the book is ostensibly Tristram's narration of his life story. But it is one of the central jokes of the novel that he cannot explain anything simply, that he must make explanatory diversions to add context and colour to his tale, to the extent that Tristram's own birth is not even reached until Volume III.
Consequently, apart from Tristram as narrator, the most familiar and important characters in the book are his father Walter, his mother, his Uncle Toby, Toby's servant Trim, and a supporting cast of popular minor characters, including the chambermaid, Susannah, Doctor Slop, and the parson, Yorick, who later became Sterne's favourite nom de plume and a very successful publicity stunt. Yorick is also the protagonist of Sterne's second work of fiction A Sentimental Journey Through France and Italy.
Most of the action is concerned with domestic upsets or misunderstandings, which find humour in the opposing temperaments of Walterâsplenetic, rational, and somewhat sarcasticâand Uncle Toby, who is gentle, uncomplicated, and a lover of his fellow man.
In between such events, Tristram as narrator finds himself discoursing at length on sexual practices, insults, the influence of one's name, and noses, as well as explorations of obstetrics, siege warfare, and philosophy as he struggles to marshal his material and finish the story of his life.
Though Tristram is always present as narrator and commentator, the book contains little of his life, only the story of a trip through France and accounts of the four comical mishaps which shaped the course of his life from an early age. Firstly, while still only a homunculus, Tristram's implantation within his mother's womb was disturbed. At the very moment of procreation, his mother asked his father if he had remembered to wind the clock. The distraction and annoyance led to the disruption of the proper balance of humours necessary to conceive a well-favoured child. Secondly, one of his father's pet theories was that a large and attractive nose was important to a man making his way in life. In a difficult birth, Tristram's nose was crushed by Dr. Slop's forceps. Thirdly, another of his father's theories was that a person's name exerted enormous influence over that person's nature and fortunes, with the worst possible name being Tristram. In view of the previous accidents, Tristram's father decreed that the boy would receive an especially auspicious name, Trismegistus. Susannah mangled the name in conveying it to the curate, and the child was christened Tristram. According to his father's theory, his name, being a conflation of "Trismegistus" (after the esoteric mystic Hermes Trismegistus) and "Tristan" (whose connotation bore the influence through folk etymology of Latin tristis, "sorrowful"), doomed him to a life of woe and cursed him with the inability to comprehend the causes of his misfortune.
Finally, as a toddler, Tristram suffered an accidental circumcision when Susannah let a window sash fall as he urinated out of the window because his chamberpot was missing. | To add color and context to his stories. |
Which two characters have opposite temperaments? | gutenberg | As its title suggests, the book is ostensibly Tristram's narration of his life story. But it is one of the central jokes of the novel that he cannot explain anything simply, that he must make explanatory diversions to add context and colour to his tale, to the extent that Tristram's own birth is not even reached until Volume III.
Consequently, apart from Tristram as narrator, the most familiar and important characters in the book are his father Walter, his mother, his Uncle Toby, Toby's servant Trim, and a supporting cast of popular minor characters, including the chambermaid, Susannah, Doctor Slop, and the parson, Yorick, who later became Sterne's favourite nom de plume and a very successful publicity stunt. Yorick is also the protagonist of Sterne's second work of fiction A Sentimental Journey Through France and Italy.
Most of the action is concerned with domestic upsets or misunderstandings, which find humour in the opposing temperaments of Walterâsplenetic, rational, and somewhat sarcasticâand Uncle Toby, who is gentle, uncomplicated, and a lover of his fellow man.
In between such events, Tristram as narrator finds himself discoursing at length on sexual practices, insults, the influence of one's name, and noses, as well as explorations of obstetrics, siege warfare, and philosophy as he struggles to marshal his material and finish the story of his life.
Though Tristram is always present as narrator and commentator, the book contains little of his life, only the story of a trip through France and accounts of the four comical mishaps which shaped the course of his life from an early age. Firstly, while still only a homunculus, Tristram's implantation within his mother's womb was disturbed. At the very moment of procreation, his mother asked his father if he had remembered to wind the clock. The distraction and annoyance led to the disruption of the proper balance of humours necessary to conceive a well-favoured child. Secondly, one of his father's pet theories was that a large and attractive nose was important to a man making his way in life. In a difficult birth, Tristram's nose was crushed by Dr. Slop's forceps. Thirdly, another of his father's theories was that a person's name exerted enormous influence over that person's nature and fortunes, with the worst possible name being Tristram. In view of the previous accidents, Tristram's father decreed that the boy would receive an especially auspicious name, Trismegistus. Susannah mangled the name in conveying it to the curate, and the child was christened Tristram. According to his father's theory, his name, being a conflation of "Trismegistus" (after the esoteric mystic Hermes Trismegistus) and "Tristan" (whose connotation bore the influence through folk etymology of Latin tristis, "sorrowful"), doomed him to a life of woe and cursed him with the inability to comprehend the causes of his misfortune.
Finally, as a toddler, Tristram suffered an accidental circumcision when Susannah let a window sash fall as he urinated out of the window because his chamberpot was missing. | Uncle Toby and Walter. |
How many comical mishaps shaped Tristram's life? | gutenberg | As its title suggests, the book is ostensibly Tristram's narration of his life story. But it is one of the central jokes of the novel that he cannot explain anything simply, that he must make explanatory diversions to add context and colour to his tale, to the extent that Tristram's own birth is not even reached until Volume III.
Consequently, apart from Tristram as narrator, the most familiar and important characters in the book are his father Walter, his mother, his Uncle Toby, Toby's servant Trim, and a supporting cast of popular minor characters, including the chambermaid, Susannah, Doctor Slop, and the parson, Yorick, who later became Sterne's favourite nom de plume and a very successful publicity stunt. Yorick is also the protagonist of Sterne's second work of fiction A Sentimental Journey Through France and Italy.
Most of the action is concerned with domestic upsets or misunderstandings, which find humour in the opposing temperaments of Walterâsplenetic, rational, and somewhat sarcasticâand Uncle Toby, who is gentle, uncomplicated, and a lover of his fellow man.
In between such events, Tristram as narrator finds himself discoursing at length on sexual practices, insults, the influence of one's name, and noses, as well as explorations of obstetrics, siege warfare, and philosophy as he struggles to marshal his material and finish the story of his life.
Though Tristram is always present as narrator and commentator, the book contains little of his life, only the story of a trip through France and accounts of the four comical mishaps which shaped the course of his life from an early age. Firstly, while still only a homunculus, Tristram's implantation within his mother's womb was disturbed. At the very moment of procreation, his mother asked his father if he had remembered to wind the clock. The distraction and annoyance led to the disruption of the proper balance of humours necessary to conceive a well-favoured child. Secondly, one of his father's pet theories was that a large and attractive nose was important to a man making his way in life. In a difficult birth, Tristram's nose was crushed by Dr. Slop's forceps. Thirdly, another of his father's theories was that a person's name exerted enormous influence over that person's nature and fortunes, with the worst possible name being Tristram. In view of the previous accidents, Tristram's father decreed that the boy would receive an especially auspicious name, Trismegistus. Susannah mangled the name in conveying it to the curate, and the child was christened Tristram. According to his father's theory, his name, being a conflation of "Trismegistus" (after the esoteric mystic Hermes Trismegistus) and "Tristan" (whose connotation bore the influence through folk etymology of Latin tristis, "sorrowful"), doomed him to a life of woe and cursed him with the inability to comprehend the causes of his misfortune.
Finally, as a toddler, Tristram suffered an accidental circumcision when Susannah let a window sash fall as he urinated out of the window because his chamberpot was missing. | Four. |
What is the name of the country that Tristram travels through? | gutenberg | As its title suggests, the book is ostensibly Tristram's narration of his life story. But it is one of the central jokes of the novel that he cannot explain anything simply, that he must make explanatory diversions to add context and colour to his tale, to the extent that Tristram's own birth is not even reached until Volume III.
Consequently, apart from Tristram as narrator, the most familiar and important characters in the book are his father Walter, his mother, his Uncle Toby, Toby's servant Trim, and a supporting cast of popular minor characters, including the chambermaid, Susannah, Doctor Slop, and the parson, Yorick, who later became Sterne's favourite nom de plume and a very successful publicity stunt. Yorick is also the protagonist of Sterne's second work of fiction A Sentimental Journey Through France and Italy.
Most of the action is concerned with domestic upsets or misunderstandings, which find humour in the opposing temperaments of Walterâsplenetic, rational, and somewhat sarcasticâand Uncle Toby, who is gentle, uncomplicated, and a lover of his fellow man.
In between such events, Tristram as narrator finds himself discoursing at length on sexual practices, insults, the influence of one's name, and noses, as well as explorations of obstetrics, siege warfare, and philosophy as he struggles to marshal his material and finish the story of his life.
Though Tristram is always present as narrator and commentator, the book contains little of his life, only the story of a trip through France and accounts of the four comical mishaps which shaped the course of his life from an early age. Firstly, while still only a homunculus, Tristram's implantation within his mother's womb was disturbed. At the very moment of procreation, his mother asked his father if he had remembered to wind the clock. The distraction and annoyance led to the disruption of the proper balance of humours necessary to conceive a well-favoured child. Secondly, one of his father's pet theories was that a large and attractive nose was important to a man making his way in life. In a difficult birth, Tristram's nose was crushed by Dr. Slop's forceps. Thirdly, another of his father's theories was that a person's name exerted enormous influence over that person's nature and fortunes, with the worst possible name being Tristram. In view of the previous accidents, Tristram's father decreed that the boy would receive an especially auspicious name, Trismegistus. Susannah mangled the name in conveying it to the curate, and the child was christened Tristram. According to his father's theory, his name, being a conflation of "Trismegistus" (after the esoteric mystic Hermes Trismegistus) and "Tristan" (whose connotation bore the influence through folk etymology of Latin tristis, "sorrowful"), doomed him to a life of woe and cursed him with the inability to comprehend the causes of his misfortune.
Finally, as a toddler, Tristram suffered an accidental circumcision when Susannah let a window sash fall as he urinated out of the window because his chamberpot was missing. | France |
What was disturbed when Tristram's mother asked his father if he remembered to wind the clock? | gutenberg | As its title suggests, the book is ostensibly Tristram's narration of his life story. But it is one of the central jokes of the novel that he cannot explain anything simply, that he must make explanatory diversions to add context and colour to his tale, to the extent that Tristram's own birth is not even reached until Volume III.
Consequently, apart from Tristram as narrator, the most familiar and important characters in the book are his father Walter, his mother, his Uncle Toby, Toby's servant Trim, and a supporting cast of popular minor characters, including the chambermaid, Susannah, Doctor Slop, and the parson, Yorick, who later became Sterne's favourite nom de plume and a very successful publicity stunt. Yorick is also the protagonist of Sterne's second work of fiction A Sentimental Journey Through France and Italy.
Most of the action is concerned with domestic upsets or misunderstandings, which find humour in the opposing temperaments of Walterâsplenetic, rational, and somewhat sarcasticâand Uncle Toby, who is gentle, uncomplicated, and a lover of his fellow man.
In between such events, Tristram as narrator finds himself discoursing at length on sexual practices, insults, the influence of one's name, and noses, as well as explorations of obstetrics, siege warfare, and philosophy as he struggles to marshal his material and finish the story of his life.
Though Tristram is always present as narrator and commentator, the book contains little of his life, only the story of a trip through France and accounts of the four comical mishaps which shaped the course of his life from an early age. Firstly, while still only a homunculus, Tristram's implantation within his mother's womb was disturbed. At the very moment of procreation, his mother asked his father if he had remembered to wind the clock. The distraction and annoyance led to the disruption of the proper balance of humours necessary to conceive a well-favoured child. Secondly, one of his father's pet theories was that a large and attractive nose was important to a man making his way in life. In a difficult birth, Tristram's nose was crushed by Dr. Slop's forceps. Thirdly, another of his father's theories was that a person's name exerted enormous influence over that person's nature and fortunes, with the worst possible name being Tristram. In view of the previous accidents, Tristram's father decreed that the boy would receive an especially auspicious name, Trismegistus. Susannah mangled the name in conveying it to the curate, and the child was christened Tristram. According to his father's theory, his name, being a conflation of "Trismegistus" (after the esoteric mystic Hermes Trismegistus) and "Tristan" (whose connotation bore the influence through folk etymology of Latin tristis, "sorrowful"), doomed him to a life of woe and cursed him with the inability to comprehend the causes of his misfortune.
Finally, as a toddler, Tristram suffered an accidental circumcision when Susannah let a window sash fall as he urinated out of the window because his chamberpot was missing. | Tristram's implantation in his mother's womb. |
What did Walter say is important for a man making his way in life? | gutenberg | As its title suggests, the book is ostensibly Tristram's narration of his life story. But it is one of the central jokes of the novel that he cannot explain anything simply, that he must make explanatory diversions to add context and colour to his tale, to the extent that Tristram's own birth is not even reached until Volume III.
Consequently, apart from Tristram as narrator, the most familiar and important characters in the book are his father Walter, his mother, his Uncle Toby, Toby's servant Trim, and a supporting cast of popular minor characters, including the chambermaid, Susannah, Doctor Slop, and the parson, Yorick, who later became Sterne's favourite nom de plume and a very successful publicity stunt. Yorick is also the protagonist of Sterne's second work of fiction A Sentimental Journey Through France and Italy.
Most of the action is concerned with domestic upsets or misunderstandings, which find humour in the opposing temperaments of Walterâsplenetic, rational, and somewhat sarcasticâand Uncle Toby, who is gentle, uncomplicated, and a lover of his fellow man.
In between such events, Tristram as narrator finds himself discoursing at length on sexual practices, insults, the influence of one's name, and noses, as well as explorations of obstetrics, siege warfare, and philosophy as he struggles to marshal his material and finish the story of his life.
Though Tristram is always present as narrator and commentator, the book contains little of his life, only the story of a trip through France and accounts of the four comical mishaps which shaped the course of his life from an early age. Firstly, while still only a homunculus, Tristram's implantation within his mother's womb was disturbed. At the very moment of procreation, his mother asked his father if he had remembered to wind the clock. The distraction and annoyance led to the disruption of the proper balance of humours necessary to conceive a well-favoured child. Secondly, one of his father's pet theories was that a large and attractive nose was important to a man making his way in life. In a difficult birth, Tristram's nose was crushed by Dr. Slop's forceps. Thirdly, another of his father's theories was that a person's name exerted enormous influence over that person's nature and fortunes, with the worst possible name being Tristram. In view of the previous accidents, Tristram's father decreed that the boy would receive an especially auspicious name, Trismegistus. Susannah mangled the name in conveying it to the curate, and the child was christened Tristram. According to his father's theory, his name, being a conflation of "Trismegistus" (after the esoteric mystic Hermes Trismegistus) and "Tristan" (whose connotation bore the influence through folk etymology of Latin tristis, "sorrowful"), doomed him to a life of woe and cursed him with the inability to comprehend the causes of his misfortune.
Finally, as a toddler, Tristram suffered an accidental circumcision when Susannah let a window sash fall as he urinated out of the window because his chamberpot was missing. | A large and attractive nose. |
What happened with Dr. Slops forceps? | gutenberg | As its title suggests, the book is ostensibly Tristram's narration of his life story. But it is one of the central jokes of the novel that he cannot explain anything simply, that he must make explanatory diversions to add context and colour to his tale, to the extent that Tristram's own birth is not even reached until Volume III.
Consequently, apart from Tristram as narrator, the most familiar and important characters in the book are his father Walter, his mother, his Uncle Toby, Toby's servant Trim, and a supporting cast of popular minor characters, including the chambermaid, Susannah, Doctor Slop, and the parson, Yorick, who later became Sterne's favourite nom de plume and a very successful publicity stunt. Yorick is also the protagonist of Sterne's second work of fiction A Sentimental Journey Through France and Italy.
Most of the action is concerned with domestic upsets or misunderstandings, which find humour in the opposing temperaments of Walterâsplenetic, rational, and somewhat sarcasticâand Uncle Toby, who is gentle, uncomplicated, and a lover of his fellow man.
In between such events, Tristram as narrator finds himself discoursing at length on sexual practices, insults, the influence of one's name, and noses, as well as explorations of obstetrics, siege warfare, and philosophy as he struggles to marshal his material and finish the story of his life.
Though Tristram is always present as narrator and commentator, the book contains little of his life, only the story of a trip through France and accounts of the four comical mishaps which shaped the course of his life from an early age. Firstly, while still only a homunculus, Tristram's implantation within his mother's womb was disturbed. At the very moment of procreation, his mother asked his father if he had remembered to wind the clock. The distraction and annoyance led to the disruption of the proper balance of humours necessary to conceive a well-favoured child. Secondly, one of his father's pet theories was that a large and attractive nose was important to a man making his way in life. In a difficult birth, Tristram's nose was crushed by Dr. Slop's forceps. Thirdly, another of his father's theories was that a person's name exerted enormous influence over that person's nature and fortunes, with the worst possible name being Tristram. In view of the previous accidents, Tristram's father decreed that the boy would receive an especially auspicious name, Trismegistus. Susannah mangled the name in conveying it to the curate, and the child was christened Tristram. According to his father's theory, his name, being a conflation of "Trismegistus" (after the esoteric mystic Hermes Trismegistus) and "Tristan" (whose connotation bore the influence through folk etymology of Latin tristis, "sorrowful"), doomed him to a life of woe and cursed him with the inability to comprehend the causes of his misfortune.
Finally, as a toddler, Tristram suffered an accidental circumcision when Susannah let a window sash fall as he urinated out of the window because his chamberpot was missing. | They crushed Tristram's nose. |
What did Tristram's father originally want to name his son? | gutenberg | As its title suggests, the book is ostensibly Tristram's narration of his life story. But it is one of the central jokes of the novel that he cannot explain anything simply, that he must make explanatory diversions to add context and colour to his tale, to the extent that Tristram's own birth is not even reached until Volume III.
Consequently, apart from Tristram as narrator, the most familiar and important characters in the book are his father Walter, his mother, his Uncle Toby, Toby's servant Trim, and a supporting cast of popular minor characters, including the chambermaid, Susannah, Doctor Slop, and the parson, Yorick, who later became Sterne's favourite nom de plume and a very successful publicity stunt. Yorick is also the protagonist of Sterne's second work of fiction A Sentimental Journey Through France and Italy.
Most of the action is concerned with domestic upsets or misunderstandings, which find humour in the opposing temperaments of Walterâsplenetic, rational, and somewhat sarcasticâand Uncle Toby, who is gentle, uncomplicated, and a lover of his fellow man.
In between such events, Tristram as narrator finds himself discoursing at length on sexual practices, insults, the influence of one's name, and noses, as well as explorations of obstetrics, siege warfare, and philosophy as he struggles to marshal his material and finish the story of his life.
Though Tristram is always present as narrator and commentator, the book contains little of his life, only the story of a trip through France and accounts of the four comical mishaps which shaped the course of his life from an early age. Firstly, while still only a homunculus, Tristram's implantation within his mother's womb was disturbed. At the very moment of procreation, his mother asked his father if he had remembered to wind the clock. The distraction and annoyance led to the disruption of the proper balance of humours necessary to conceive a well-favoured child. Secondly, one of his father's pet theories was that a large and attractive nose was important to a man making his way in life. In a difficult birth, Tristram's nose was crushed by Dr. Slop's forceps. Thirdly, another of his father's theories was that a person's name exerted enormous influence over that person's nature and fortunes, with the worst possible name being Tristram. In view of the previous accidents, Tristram's father decreed that the boy would receive an especially auspicious name, Trismegistus. Susannah mangled the name in conveying it to the curate, and the child was christened Tristram. According to his father's theory, his name, being a conflation of "Trismegistus" (after the esoteric mystic Hermes Trismegistus) and "Tristan" (whose connotation bore the influence through folk etymology of Latin tristis, "sorrowful"), doomed him to a life of woe and cursed him with the inability to comprehend the causes of his misfortune.
Finally, as a toddler, Tristram suffered an accidental circumcision when Susannah let a window sash fall as he urinated out of the window because his chamberpot was missing. | Trismegistus. |
Who incorrectly conveyed the name to the curate? | gutenberg | As its title suggests, the book is ostensibly Tristram's narration of his life story. But it is one of the central jokes of the novel that he cannot explain anything simply, that he must make explanatory diversions to add context and colour to his tale, to the extent that Tristram's own birth is not even reached until Volume III.
Consequently, apart from Tristram as narrator, the most familiar and important characters in the book are his father Walter, his mother, his Uncle Toby, Toby's servant Trim, and a supporting cast of popular minor characters, including the chambermaid, Susannah, Doctor Slop, and the parson, Yorick, who later became Sterne's favourite nom de plume and a very successful publicity stunt. Yorick is also the protagonist of Sterne's second work of fiction A Sentimental Journey Through France and Italy.
Most of the action is concerned with domestic upsets or misunderstandings, which find humour in the opposing temperaments of Walterâsplenetic, rational, and somewhat sarcasticâand Uncle Toby, who is gentle, uncomplicated, and a lover of his fellow man.
In between such events, Tristram as narrator finds himself discoursing at length on sexual practices, insults, the influence of one's name, and noses, as well as explorations of obstetrics, siege warfare, and philosophy as he struggles to marshal his material and finish the story of his life.
Though Tristram is always present as narrator and commentator, the book contains little of his life, only the story of a trip through France and accounts of the four comical mishaps which shaped the course of his life from an early age. Firstly, while still only a homunculus, Tristram's implantation within his mother's womb was disturbed. At the very moment of procreation, his mother asked his father if he had remembered to wind the clock. The distraction and annoyance led to the disruption of the proper balance of humours necessary to conceive a well-favoured child. Secondly, one of his father's pet theories was that a large and attractive nose was important to a man making his way in life. In a difficult birth, Tristram's nose was crushed by Dr. Slop's forceps. Thirdly, another of his father's theories was that a person's name exerted enormous influence over that person's nature and fortunes, with the worst possible name being Tristram. In view of the previous accidents, Tristram's father decreed that the boy would receive an especially auspicious name, Trismegistus. Susannah mangled the name in conveying it to the curate, and the child was christened Tristram. According to his father's theory, his name, being a conflation of "Trismegistus" (after the esoteric mystic Hermes Trismegistus) and "Tristan" (whose connotation bore the influence through folk etymology of Latin tristis, "sorrowful"), doomed him to a life of woe and cursed him with the inability to comprehend the causes of his misfortune.
Finally, as a toddler, Tristram suffered an accidental circumcision when Susannah let a window sash fall as he urinated out of the window because his chamberpot was missing. | Susannah. |
What happened when Susannah accidentally dropped the window while Tristram was urinating? | gutenberg | As its title suggests, the book is ostensibly Tristram's narration of his life story. But it is one of the central jokes of the novel that he cannot explain anything simply, that he must make explanatory diversions to add context and colour to his tale, to the extent that Tristram's own birth is not even reached until Volume III.
Consequently, apart from Tristram as narrator, the most familiar and important characters in the book are his father Walter, his mother, his Uncle Toby, Toby's servant Trim, and a supporting cast of popular minor characters, including the chambermaid, Susannah, Doctor Slop, and the parson, Yorick, who later became Sterne's favourite nom de plume and a very successful publicity stunt. Yorick is also the protagonist of Sterne's second work of fiction A Sentimental Journey Through France and Italy.
Most of the action is concerned with domestic upsets or misunderstandings, which find humour in the opposing temperaments of Walterâsplenetic, rational, and somewhat sarcasticâand Uncle Toby, who is gentle, uncomplicated, and a lover of his fellow man.
In between such events, Tristram as narrator finds himself discoursing at length on sexual practices, insults, the influence of one's name, and noses, as well as explorations of obstetrics, siege warfare, and philosophy as he struggles to marshal his material and finish the story of his life.
Though Tristram is always present as narrator and commentator, the book contains little of his life, only the story of a trip through France and accounts of the four comical mishaps which shaped the course of his life from an early age. Firstly, while still only a homunculus, Tristram's implantation within his mother's womb was disturbed. At the very moment of procreation, his mother asked his father if he had remembered to wind the clock. The distraction and annoyance led to the disruption of the proper balance of humours necessary to conceive a well-favoured child. Secondly, one of his father's pet theories was that a large and attractive nose was important to a man making his way in life. In a difficult birth, Tristram's nose was crushed by Dr. Slop's forceps. Thirdly, another of his father's theories was that a person's name exerted enormous influence over that person's nature and fortunes, with the worst possible name being Tristram. In view of the previous accidents, Tristram's father decreed that the boy would receive an especially auspicious name, Trismegistus. Susannah mangled the name in conveying it to the curate, and the child was christened Tristram. According to his father's theory, his name, being a conflation of "Trismegistus" (after the esoteric mystic Hermes Trismegistus) and "Tristan" (whose connotation bore the influence through folk etymology of Latin tristis, "sorrowful"), doomed him to a life of woe and cursed him with the inability to comprehend the causes of his misfortune.
Finally, as a toddler, Tristram suffered an accidental circumcision when Susannah let a window sash fall as he urinated out of the window because his chamberpot was missing. | An accidental circumcision. |
Who is the narrator of the story? | gutenberg | As its title suggests, the book is ostensibly Tristram's narration of his life story. But it is one of the central jokes of the novel that he cannot explain anything simply, that he must make explanatory diversions to add context and colour to his tale, to the extent that Tristram's own birth is not even reached until Volume III.
Consequently, apart from Tristram as narrator, the most familiar and important characters in the book are his father Walter, his mother, his Uncle Toby, Toby's servant Trim, and a supporting cast of popular minor characters, including the chambermaid, Susannah, Doctor Slop, and the parson, Yorick, who later became Sterne's favourite nom de plume and a very successful publicity stunt. Yorick is also the protagonist of Sterne's second work of fiction A Sentimental Journey Through France and Italy.
Most of the action is concerned with domestic upsets or misunderstandings, which find humour in the opposing temperaments of Walterâsplenetic, rational, and somewhat sarcasticâand Uncle Toby, who is gentle, uncomplicated, and a lover of his fellow man.
In between such events, Tristram as narrator finds himself discoursing at length on sexual practices, insults, the influence of one's name, and noses, as well as explorations of obstetrics, siege warfare, and philosophy as he struggles to marshal his material and finish the story of his life.
Though Tristram is always present as narrator and commentator, the book contains little of his life, only the story of a trip through France and accounts of the four comical mishaps which shaped the course of his life from an early age. Firstly, while still only a homunculus, Tristram's implantation within his mother's womb was disturbed. At the very moment of procreation, his mother asked his father if he had remembered to wind the clock. The distraction and annoyance led to the disruption of the proper balance of humours necessary to conceive a well-favoured child. Secondly, one of his father's pet theories was that a large and attractive nose was important to a man making his way in life. In a difficult birth, Tristram's nose was crushed by Dr. Slop's forceps. Thirdly, another of his father's theories was that a person's name exerted enormous influence over that person's nature and fortunes, with the worst possible name being Tristram. In view of the previous accidents, Tristram's father decreed that the boy would receive an especially auspicious name, Trismegistus. Susannah mangled the name in conveying it to the curate, and the child was christened Tristram. According to his father's theory, his name, being a conflation of "Trismegistus" (after the esoteric mystic Hermes Trismegistus) and "Tristan" (whose connotation bore the influence through folk etymology of Latin tristis, "sorrowful"), doomed him to a life of woe and cursed him with the inability to comprehend the causes of his misfortune.
Finally, as a toddler, Tristram suffered an accidental circumcision when Susannah let a window sash fall as he urinated out of the window because his chamberpot was missing. | Tristram Shandy |
At the moment of procreation, what did Tristram's mother ask his father? | gutenberg | As its title suggests, the book is ostensibly Tristram's narration of his life story. But it is one of the central jokes of the novel that he cannot explain anything simply, that he must make explanatory diversions to add context and colour to his tale, to the extent that Tristram's own birth is not even reached until Volume III.
Consequently, apart from Tristram as narrator, the most familiar and important characters in the book are his father Walter, his mother, his Uncle Toby, Toby's servant Trim, and a supporting cast of popular minor characters, including the chambermaid, Susannah, Doctor Slop, and the parson, Yorick, who later became Sterne's favourite nom de plume and a very successful publicity stunt. Yorick is also the protagonist of Sterne's second work of fiction A Sentimental Journey Through France and Italy.
Most of the action is concerned with domestic upsets or misunderstandings, which find humour in the opposing temperaments of Walterâsplenetic, rational, and somewhat sarcasticâand Uncle Toby, who is gentle, uncomplicated, and a lover of his fellow man.
In between such events, Tristram as narrator finds himself discoursing at length on sexual practices, insults, the influence of one's name, and noses, as well as explorations of obstetrics, siege warfare, and philosophy as he struggles to marshal his material and finish the story of his life.
Though Tristram is always present as narrator and commentator, the book contains little of his life, only the story of a trip through France and accounts of the four comical mishaps which shaped the course of his life from an early age. Firstly, while still only a homunculus, Tristram's implantation within his mother's womb was disturbed. At the very moment of procreation, his mother asked his father if he had remembered to wind the clock. The distraction and annoyance led to the disruption of the proper balance of humours necessary to conceive a well-favoured child. Secondly, one of his father's pet theories was that a large and attractive nose was important to a man making his way in life. In a difficult birth, Tristram's nose was crushed by Dr. Slop's forceps. Thirdly, another of his father's theories was that a person's name exerted enormous influence over that person's nature and fortunes, with the worst possible name being Tristram. In view of the previous accidents, Tristram's father decreed that the boy would receive an especially auspicious name, Trismegistus. Susannah mangled the name in conveying it to the curate, and the child was christened Tristram. According to his father's theory, his name, being a conflation of "Trismegistus" (after the esoteric mystic Hermes Trismegistus) and "Tristan" (whose connotation bore the influence through folk etymology of Latin tristis, "sorrowful"), doomed him to a life of woe and cursed him with the inability to comprehend the causes of his misfortune.
Finally, as a toddler, Tristram suffered an accidental circumcision when Susannah let a window sash fall as he urinated out of the window because his chamberpot was missing. | If he had remembered to wind the clock. |
When was Tristram's nose injured? | gutenberg | As its title suggests, the book is ostensibly Tristram's narration of his life story. But it is one of the central jokes of the novel that he cannot explain anything simply, that he must make explanatory diversions to add context and colour to his tale, to the extent that Tristram's own birth is not even reached until Volume III.
Consequently, apart from Tristram as narrator, the most familiar and important characters in the book are his father Walter, his mother, his Uncle Toby, Toby's servant Trim, and a supporting cast of popular minor characters, including the chambermaid, Susannah, Doctor Slop, and the parson, Yorick, who later became Sterne's favourite nom de plume and a very successful publicity stunt. Yorick is also the protagonist of Sterne's second work of fiction A Sentimental Journey Through France and Italy.
Most of the action is concerned with domestic upsets or misunderstandings, which find humour in the opposing temperaments of Walterâsplenetic, rational, and somewhat sarcasticâand Uncle Toby, who is gentle, uncomplicated, and a lover of his fellow man.
In between such events, Tristram as narrator finds himself discoursing at length on sexual practices, insults, the influence of one's name, and noses, as well as explorations of obstetrics, siege warfare, and philosophy as he struggles to marshal his material and finish the story of his life.
Though Tristram is always present as narrator and commentator, the book contains little of his life, only the story of a trip through France and accounts of the four comical mishaps which shaped the course of his life from an early age. Firstly, while still only a homunculus, Tristram's implantation within his mother's womb was disturbed. At the very moment of procreation, his mother asked his father if he had remembered to wind the clock. The distraction and annoyance led to the disruption of the proper balance of humours necessary to conceive a well-favoured child. Secondly, one of his father's pet theories was that a large and attractive nose was important to a man making his way in life. In a difficult birth, Tristram's nose was crushed by Dr. Slop's forceps. Thirdly, another of his father's theories was that a person's name exerted enormous influence over that person's nature and fortunes, with the worst possible name being Tristram. In view of the previous accidents, Tristram's father decreed that the boy would receive an especially auspicious name, Trismegistus. Susannah mangled the name in conveying it to the curate, and the child was christened Tristram. According to his father's theory, his name, being a conflation of "Trismegistus" (after the esoteric mystic Hermes Trismegistus) and "Tristan" (whose connotation bore the influence through folk etymology of Latin tristis, "sorrowful"), doomed him to a life of woe and cursed him with the inability to comprehend the causes of his misfortune.
Finally, as a toddler, Tristram suffered an accidental circumcision when Susannah let a window sash fall as he urinated out of the window because his chamberpot was missing. | At birth |
What injured Tristram's nose? | gutenberg | As its title suggests, the book is ostensibly Tristram's narration of his life story. But it is one of the central jokes of the novel that he cannot explain anything simply, that he must make explanatory diversions to add context and colour to his tale, to the extent that Tristram's own birth is not even reached until Volume III.
Consequently, apart from Tristram as narrator, the most familiar and important characters in the book are his father Walter, his mother, his Uncle Toby, Toby's servant Trim, and a supporting cast of popular minor characters, including the chambermaid, Susannah, Doctor Slop, and the parson, Yorick, who later became Sterne's favourite nom de plume and a very successful publicity stunt. Yorick is also the protagonist of Sterne's second work of fiction A Sentimental Journey Through France and Italy.
Most of the action is concerned with domestic upsets or misunderstandings, which find humour in the opposing temperaments of Walterâsplenetic, rational, and somewhat sarcasticâand Uncle Toby, who is gentle, uncomplicated, and a lover of his fellow man.
In between such events, Tristram as narrator finds himself discoursing at length on sexual practices, insults, the influence of one's name, and noses, as well as explorations of obstetrics, siege warfare, and philosophy as he struggles to marshal his material and finish the story of his life.
Though Tristram is always present as narrator and commentator, the book contains little of his life, only the story of a trip through France and accounts of the four comical mishaps which shaped the course of his life from an early age. Firstly, while still only a homunculus, Tristram's implantation within his mother's womb was disturbed. At the very moment of procreation, his mother asked his father if he had remembered to wind the clock. The distraction and annoyance led to the disruption of the proper balance of humours necessary to conceive a well-favoured child. Secondly, one of his father's pet theories was that a large and attractive nose was important to a man making his way in life. In a difficult birth, Tristram's nose was crushed by Dr. Slop's forceps. Thirdly, another of his father's theories was that a person's name exerted enormous influence over that person's nature and fortunes, with the worst possible name being Tristram. In view of the previous accidents, Tristram's father decreed that the boy would receive an especially auspicious name, Trismegistus. Susannah mangled the name in conveying it to the curate, and the child was christened Tristram. According to his father's theory, his name, being a conflation of "Trismegistus" (after the esoteric mystic Hermes Trismegistus) and "Tristan" (whose connotation bore the influence through folk etymology of Latin tristis, "sorrowful"), doomed him to a life of woe and cursed him with the inability to comprehend the causes of his misfortune.
Finally, as a toddler, Tristram suffered an accidental circumcision when Susannah let a window sash fall as he urinated out of the window because his chamberpot was missing. | Dr. Slop's foreceps |
What did Tristram's father want to name him? | gutenberg | As its title suggests, the book is ostensibly Tristram's narration of his life story. But it is one of the central jokes of the novel that he cannot explain anything simply, that he must make explanatory diversions to add context and colour to his tale, to the extent that Tristram's own birth is not even reached until Volume III.
Consequently, apart from Tristram as narrator, the most familiar and important characters in the book are his father Walter, his mother, his Uncle Toby, Toby's servant Trim, and a supporting cast of popular minor characters, including the chambermaid, Susannah, Doctor Slop, and the parson, Yorick, who later became Sterne's favourite nom de plume and a very successful publicity stunt. Yorick is also the protagonist of Sterne's second work of fiction A Sentimental Journey Through France and Italy.
Most of the action is concerned with domestic upsets or misunderstandings, which find humour in the opposing temperaments of Walterâsplenetic, rational, and somewhat sarcasticâand Uncle Toby, who is gentle, uncomplicated, and a lover of his fellow man.
In between such events, Tristram as narrator finds himself discoursing at length on sexual practices, insults, the influence of one's name, and noses, as well as explorations of obstetrics, siege warfare, and philosophy as he struggles to marshal his material and finish the story of his life.
Though Tristram is always present as narrator and commentator, the book contains little of his life, only the story of a trip through France and accounts of the four comical mishaps which shaped the course of his life from an early age. Firstly, while still only a homunculus, Tristram's implantation within his mother's womb was disturbed. At the very moment of procreation, his mother asked his father if he had remembered to wind the clock. The distraction and annoyance led to the disruption of the proper balance of humours necessary to conceive a well-favoured child. Secondly, one of his father's pet theories was that a large and attractive nose was important to a man making his way in life. In a difficult birth, Tristram's nose was crushed by Dr. Slop's forceps. Thirdly, another of his father's theories was that a person's name exerted enormous influence over that person's nature and fortunes, with the worst possible name being Tristram. In view of the previous accidents, Tristram's father decreed that the boy would receive an especially auspicious name, Trismegistus. Susannah mangled the name in conveying it to the curate, and the child was christened Tristram. According to his father's theory, his name, being a conflation of "Trismegistus" (after the esoteric mystic Hermes Trismegistus) and "Tristan" (whose connotation bore the influence through folk etymology of Latin tristis, "sorrowful"), doomed him to a life of woe and cursed him with the inability to comprehend the causes of his misfortune.
Finally, as a toddler, Tristram suffered an accidental circumcision when Susannah let a window sash fall as he urinated out of the window because his chamberpot was missing. | Trismegistus |
Why did Tristram urinate out of the window? | gutenberg | As its title suggests, the book is ostensibly Tristram's narration of his life story. But it is one of the central jokes of the novel that he cannot explain anything simply, that he must make explanatory diversions to add context and colour to his tale, to the extent that Tristram's own birth is not even reached until Volume III.
Consequently, apart from Tristram as narrator, the most familiar and important characters in the book are his father Walter, his mother, his Uncle Toby, Toby's servant Trim, and a supporting cast of popular minor characters, including the chambermaid, Susannah, Doctor Slop, and the parson, Yorick, who later became Sterne's favourite nom de plume and a very successful publicity stunt. Yorick is also the protagonist of Sterne's second work of fiction A Sentimental Journey Through France and Italy.
Most of the action is concerned with domestic upsets or misunderstandings, which find humour in the opposing temperaments of Walterâsplenetic, rational, and somewhat sarcasticâand Uncle Toby, who is gentle, uncomplicated, and a lover of his fellow man.
In between such events, Tristram as narrator finds himself discoursing at length on sexual practices, insults, the influence of one's name, and noses, as well as explorations of obstetrics, siege warfare, and philosophy as he struggles to marshal his material and finish the story of his life.
Though Tristram is always present as narrator and commentator, the book contains little of his life, only the story of a trip through France and accounts of the four comical mishaps which shaped the course of his life from an early age. Firstly, while still only a homunculus, Tristram's implantation within his mother's womb was disturbed. At the very moment of procreation, his mother asked his father if he had remembered to wind the clock. The distraction and annoyance led to the disruption of the proper balance of humours necessary to conceive a well-favoured child. Secondly, one of his father's pet theories was that a large and attractive nose was important to a man making his way in life. In a difficult birth, Tristram's nose was crushed by Dr. Slop's forceps. Thirdly, another of his father's theories was that a person's name exerted enormous influence over that person's nature and fortunes, with the worst possible name being Tristram. In view of the previous accidents, Tristram's father decreed that the boy would receive an especially auspicious name, Trismegistus. Susannah mangled the name in conveying it to the curate, and the child was christened Tristram. According to his father's theory, his name, being a conflation of "Trismegistus" (after the esoteric mystic Hermes Trismegistus) and "Tristan" (whose connotation bore the influence through folk etymology of Latin tristis, "sorrowful"), doomed him to a life of woe and cursed him with the inability to comprehend the causes of his misfortune.
Finally, as a toddler, Tristram suffered an accidental circumcision when Susannah let a window sash fall as he urinated out of the window because his chamberpot was missing. | His chamberpot was missing. |
Why did Tristram's father believe a man should have a prominent nose? | gutenberg | As its title suggests, the book is ostensibly Tristram's narration of his life story. But it is one of the central jokes of the novel that he cannot explain anything simply, that he must make explanatory diversions to add context and colour to his tale, to the extent that Tristram's own birth is not even reached until Volume III.
Consequently, apart from Tristram as narrator, the most familiar and important characters in the book are his father Walter, his mother, his Uncle Toby, Toby's servant Trim, and a supporting cast of popular minor characters, including the chambermaid, Susannah, Doctor Slop, and the parson, Yorick, who later became Sterne's favourite nom de plume and a very successful publicity stunt. Yorick is also the protagonist of Sterne's second work of fiction A Sentimental Journey Through France and Italy.
Most of the action is concerned with domestic upsets or misunderstandings, which find humour in the opposing temperaments of Walterâsplenetic, rational, and somewhat sarcasticâand Uncle Toby, who is gentle, uncomplicated, and a lover of his fellow man.
In between such events, Tristram as narrator finds himself discoursing at length on sexual practices, insults, the influence of one's name, and noses, as well as explorations of obstetrics, siege warfare, and philosophy as he struggles to marshal his material and finish the story of his life.
Though Tristram is always present as narrator and commentator, the book contains little of his life, only the story of a trip through France and accounts of the four comical mishaps which shaped the course of his life from an early age. Firstly, while still only a homunculus, Tristram's implantation within his mother's womb was disturbed. At the very moment of procreation, his mother asked his father if he had remembered to wind the clock. The distraction and annoyance led to the disruption of the proper balance of humours necessary to conceive a well-favoured child. Secondly, one of his father's pet theories was that a large and attractive nose was important to a man making his way in life. In a difficult birth, Tristram's nose was crushed by Dr. Slop's forceps. Thirdly, another of his father's theories was that a person's name exerted enormous influence over that person's nature and fortunes, with the worst possible name being Tristram. In view of the previous accidents, Tristram's father decreed that the boy would receive an especially auspicious name, Trismegistus. Susannah mangled the name in conveying it to the curate, and the child was christened Tristram. According to his father's theory, his name, being a conflation of "Trismegistus" (after the esoteric mystic Hermes Trismegistus) and "Tristan" (whose connotation bore the influence through folk etymology of Latin tristis, "sorrowful"), doomed him to a life of woe and cursed him with the inability to comprehend the causes of his misfortune.
Finally, as a toddler, Tristram suffered an accidental circumcision when Susannah let a window sash fall as he urinated out of the window because his chamberpot was missing. | In order for a man to make his way in life |
In the story, what was the parson's name? | gutenberg | As its title suggests, the book is ostensibly Tristram's narration of his life story. But it is one of the central jokes of the novel that he cannot explain anything simply, that he must make explanatory diversions to add context and colour to his tale, to the extent that Tristram's own birth is not even reached until Volume III.
Consequently, apart from Tristram as narrator, the most familiar and important characters in the book are his father Walter, his mother, his Uncle Toby, Toby's servant Trim, and a supporting cast of popular minor characters, including the chambermaid, Susannah, Doctor Slop, and the parson, Yorick, who later became Sterne's favourite nom de plume and a very successful publicity stunt. Yorick is also the protagonist of Sterne's second work of fiction A Sentimental Journey Through France and Italy.
Most of the action is concerned with domestic upsets or misunderstandings, which find humour in the opposing temperaments of Walterâsplenetic, rational, and somewhat sarcasticâand Uncle Toby, who is gentle, uncomplicated, and a lover of his fellow man.
In between such events, Tristram as narrator finds himself discoursing at length on sexual practices, insults, the influence of one's name, and noses, as well as explorations of obstetrics, siege warfare, and philosophy as he struggles to marshal his material and finish the story of his life.
Though Tristram is always present as narrator and commentator, the book contains little of his life, only the story of a trip through France and accounts of the four comical mishaps which shaped the course of his life from an early age. Firstly, while still only a homunculus, Tristram's implantation within his mother's womb was disturbed. At the very moment of procreation, his mother asked his father if he had remembered to wind the clock. The distraction and annoyance led to the disruption of the proper balance of humours necessary to conceive a well-favoured child. Secondly, one of his father's pet theories was that a large and attractive nose was important to a man making his way in life. In a difficult birth, Tristram's nose was crushed by Dr. Slop's forceps. Thirdly, another of his father's theories was that a person's name exerted enormous influence over that person's nature and fortunes, with the worst possible name being Tristram. In view of the previous accidents, Tristram's father decreed that the boy would receive an especially auspicious name, Trismegistus. Susannah mangled the name in conveying it to the curate, and the child was christened Tristram. According to his father's theory, his name, being a conflation of "Trismegistus" (after the esoteric mystic Hermes Trismegistus) and "Tristan" (whose connotation bore the influence through folk etymology of Latin tristis, "sorrowful"), doomed him to a life of woe and cursed him with the inability to comprehend the causes of his misfortune.
Finally, as a toddler, Tristram suffered an accidental circumcision when Susannah let a window sash fall as he urinated out of the window because his chamberpot was missing. | Yorick |
Who is Beverly married to? | movie | The title designates time and location: an unusually hot August in a rural area outside Pawhuska, Oklahoma. Beverly Weston (Sam Shepard), an alcoholic, once-noted poet, interviews and hires a young native American woman Johnna (Misty Upham) as a live-in cook and caregiver for his strong-willed and contentious wife Violet (Meryl Streep), who is suffering from oral cancer and addiction to narcotics. Shortly after this, he disappears from the house, and Violet calls her sister and daughters for support. Her sister Mattie Fae (Margo Martindale) arrives with husband Charles Aiken (Chris Cooper). Violet's middle daughter Ivy (Julianne Nicholson) is single and the only one living locally; Barbara (Julia Roberts), her oldest, who has inherited her mother's mean streak, arrives from Colorado with her husband Bill (Ewan McGregor) and 14-year-old daughter Jean (Abigail Breslin). Barbara and Bill are separated, but they put up a united front for Violet.
After five days, the sheriff arrives with the news that Beverly took his boat out on the lake and has drowned. Youngest daughter Karen (Juliette Lewis) arrives with the latest in a string of boyfriends, Steve Huberbrecht (Dermot Mulroney), a sleazy Florida businessman whom she introduces as her fiancĂŠ. Mattie Fae and Charles's shy, awkward son "Little Charles" (Benedict Cumberbatch) misses the funeral because he overslept and is met at the bus station by his father. Charles loves his son, whereas Mattie constantly belittles him. Ivy confides to Barbara that she is in love with her cousin, Little Charles, who plans to move to New York, and she cannot have children because she had a hysterectomy. She feels this is her only chance to finally marry.
The family sits down to dinner after the funeral, fueled by Violet's brutal "truth telling", which results in Barbara pouncing on her mother. She decides she has had enough of her mother's drug addiction and confiscates all her several kinds of pills. Later, after Violet has had a chance to sober up, she has a tender moment with her daughters and shares a story that demonstrates how cruel her own mother was when she longed for a new pair of cowgirl boots when she was in her early teens.
As Little Charles sings Ivy a song he has written for her, Mattie Fae walks in and berates him. This exhausts Charles's patience with his wife's lack of love and compassion for her son, and he threatens to leave her if she keeps it up. Mattie subsequently reveals to Barbara, who unintentionally listened in, that she had a long-ago affair with Beverly, and Charles is in fact their younger half-brother and that is the true reason why Ivy and "Little Charles" cannot be together.
That evening, Steve and Jean are playfully sharing a joint of marijuana. Johnna sees this and, sensing that he intends on molesting her, goes after him with a shovel. Barbara confronts Jean and slaps her. This impels Bill to take Jean back to Colorado, leaving Barbara. Karen also leaves with Steve.
Later, Ivy tries to tell her mother about her love for Little Charles. Barbara tries to deflect the admission. Violet tells Ivy Charles is actually her brother, something she knew all along. Ivy leaves and promises to never come back. In the last confrontation between Violet and Barbara, Violet admits she was contacted by Beverly from his motel the week after he had left home, but did nothing to help him until after she removed money from the couple's joint safe deposit box. By this time he had already drowned. This revelation leads Barbara to depart. Violet is left with only Johnna.
Barbara is driving through the plains, stops, gets out of the car, cries then gets back in the car and follows signage showing highways and number of miles to Wichita, Salina and Denver. | Violet |
What disease is Violet suffering from? | movie | The title designates time and location: an unusually hot August in a rural area outside Pawhuska, Oklahoma. Beverly Weston (Sam Shepard), an alcoholic, once-noted poet, interviews and hires a young native American woman Johnna (Misty Upham) as a live-in cook and caregiver for his strong-willed and contentious wife Violet (Meryl Streep), who is suffering from oral cancer and addiction to narcotics. Shortly after this, he disappears from the house, and Violet calls her sister and daughters for support. Her sister Mattie Fae (Margo Martindale) arrives with husband Charles Aiken (Chris Cooper). Violet's middle daughter Ivy (Julianne Nicholson) is single and the only one living locally; Barbara (Julia Roberts), her oldest, who has inherited her mother's mean streak, arrives from Colorado with her husband Bill (Ewan McGregor) and 14-year-old daughter Jean (Abigail Breslin). Barbara and Bill are separated, but they put up a united front for Violet.
After five days, the sheriff arrives with the news that Beverly took his boat out on the lake and has drowned. Youngest daughter Karen (Juliette Lewis) arrives with the latest in a string of boyfriends, Steve Huberbrecht (Dermot Mulroney), a sleazy Florida businessman whom she introduces as her fiancĂŠ. Mattie Fae and Charles's shy, awkward son "Little Charles" (Benedict Cumberbatch) misses the funeral because he overslept and is met at the bus station by his father. Charles loves his son, whereas Mattie constantly belittles him. Ivy confides to Barbara that she is in love with her cousin, Little Charles, who plans to move to New York, and she cannot have children because she had a hysterectomy. She feels this is her only chance to finally marry.
The family sits down to dinner after the funeral, fueled by Violet's brutal "truth telling", which results in Barbara pouncing on her mother. She decides she has had enough of her mother's drug addiction and confiscates all her several kinds of pills. Later, after Violet has had a chance to sober up, she has a tender moment with her daughters and shares a story that demonstrates how cruel her own mother was when she longed for a new pair of cowgirl boots when she was in her early teens.
As Little Charles sings Ivy a song he has written for her, Mattie Fae walks in and berates him. This exhausts Charles's patience with his wife's lack of love and compassion for her son, and he threatens to leave her if she keeps it up. Mattie subsequently reveals to Barbara, who unintentionally listened in, that she had a long-ago affair with Beverly, and Charles is in fact their younger half-brother and that is the true reason why Ivy and "Little Charles" cannot be together.
That evening, Steve and Jean are playfully sharing a joint of marijuana. Johnna sees this and, sensing that he intends on molesting her, goes after him with a shovel. Barbara confronts Jean and slaps her. This impels Bill to take Jean back to Colorado, leaving Barbara. Karen also leaves with Steve.
Later, Ivy tries to tell her mother about her love for Little Charles. Barbara tries to deflect the admission. Violet tells Ivy Charles is actually her brother, something she knew all along. Ivy leaves and promises to never come back. In the last confrontation between Violet and Barbara, Violet admits she was contacted by Beverly from his motel the week after he had left home, but did nothing to help him until after she removed money from the couple's joint safe deposit box. By this time he had already drowned. This revelation leads Barbara to depart. Violet is left with only Johnna.
Barbara is driving through the plains, stops, gets out of the car, cries then gets back in the car and follows signage showing highways and number of miles to Wichita, Salina and Denver. | Oral Cancer |
What is Violet addicted to? | movie | The title designates time and location: an unusually hot August in a rural area outside Pawhuska, Oklahoma. Beverly Weston (Sam Shepard), an alcoholic, once-noted poet, interviews and hires a young native American woman Johnna (Misty Upham) as a live-in cook and caregiver for his strong-willed and contentious wife Violet (Meryl Streep), who is suffering from oral cancer and addiction to narcotics. Shortly after this, he disappears from the house, and Violet calls her sister and daughters for support. Her sister Mattie Fae (Margo Martindale) arrives with husband Charles Aiken (Chris Cooper). Violet's middle daughter Ivy (Julianne Nicholson) is single and the only one living locally; Barbara (Julia Roberts), her oldest, who has inherited her mother's mean streak, arrives from Colorado with her husband Bill (Ewan McGregor) and 14-year-old daughter Jean (Abigail Breslin). Barbara and Bill are separated, but they put up a united front for Violet.
After five days, the sheriff arrives with the news that Beverly took his boat out on the lake and has drowned. Youngest daughter Karen (Juliette Lewis) arrives with the latest in a string of boyfriends, Steve Huberbrecht (Dermot Mulroney), a sleazy Florida businessman whom she introduces as her fiancĂŠ. Mattie Fae and Charles's shy, awkward son "Little Charles" (Benedict Cumberbatch) misses the funeral because he overslept and is met at the bus station by his father. Charles loves his son, whereas Mattie constantly belittles him. Ivy confides to Barbara that she is in love with her cousin, Little Charles, who plans to move to New York, and she cannot have children because she had a hysterectomy. She feels this is her only chance to finally marry.
The family sits down to dinner after the funeral, fueled by Violet's brutal "truth telling", which results in Barbara pouncing on her mother. She decides she has had enough of her mother's drug addiction and confiscates all her several kinds of pills. Later, after Violet has had a chance to sober up, she has a tender moment with her daughters and shares a story that demonstrates how cruel her own mother was when she longed for a new pair of cowgirl boots when she was in her early teens.
As Little Charles sings Ivy a song he has written for her, Mattie Fae walks in and berates him. This exhausts Charles's patience with his wife's lack of love and compassion for her son, and he threatens to leave her if she keeps it up. Mattie subsequently reveals to Barbara, who unintentionally listened in, that she had a long-ago affair with Beverly, and Charles is in fact their younger half-brother and that is the true reason why Ivy and "Little Charles" cannot be together.
That evening, Steve and Jean are playfully sharing a joint of marijuana. Johnna sees this and, sensing that he intends on molesting her, goes after him with a shovel. Barbara confronts Jean and slaps her. This impels Bill to take Jean back to Colorado, leaving Barbara. Karen also leaves with Steve.
Later, Ivy tries to tell her mother about her love for Little Charles. Barbara tries to deflect the admission. Violet tells Ivy Charles is actually her brother, something she knew all along. Ivy leaves and promises to never come back. In the last confrontation between Violet and Barbara, Violet admits she was contacted by Beverly from his motel the week after he had left home, but did nothing to help him until after she removed money from the couple's joint safe deposit box. By this time he had already drowned. This revelation leads Barbara to depart. Violet is left with only Johnna.
Barbara is driving through the plains, stops, gets out of the car, cries then gets back in the car and follows signage showing highways and number of miles to Wichita, Salina and Denver. | Narcotics |
Who does Beverly hire to be a cook and caretaker for Violet? | movie | The title designates time and location: an unusually hot August in a rural area outside Pawhuska, Oklahoma. Beverly Weston (Sam Shepard), an alcoholic, once-noted poet, interviews and hires a young native American woman Johnna (Misty Upham) as a live-in cook and caregiver for his strong-willed and contentious wife Violet (Meryl Streep), who is suffering from oral cancer and addiction to narcotics. Shortly after this, he disappears from the house, and Violet calls her sister and daughters for support. Her sister Mattie Fae (Margo Martindale) arrives with husband Charles Aiken (Chris Cooper). Violet's middle daughter Ivy (Julianne Nicholson) is single and the only one living locally; Barbara (Julia Roberts), her oldest, who has inherited her mother's mean streak, arrives from Colorado with her husband Bill (Ewan McGregor) and 14-year-old daughter Jean (Abigail Breslin). Barbara and Bill are separated, but they put up a united front for Violet.
After five days, the sheriff arrives with the news that Beverly took his boat out on the lake and has drowned. Youngest daughter Karen (Juliette Lewis) arrives with the latest in a string of boyfriends, Steve Huberbrecht (Dermot Mulroney), a sleazy Florida businessman whom she introduces as her fiancĂŠ. Mattie Fae and Charles's shy, awkward son "Little Charles" (Benedict Cumberbatch) misses the funeral because he overslept and is met at the bus station by his father. Charles loves his son, whereas Mattie constantly belittles him. Ivy confides to Barbara that she is in love with her cousin, Little Charles, who plans to move to New York, and she cannot have children because she had a hysterectomy. She feels this is her only chance to finally marry.
The family sits down to dinner after the funeral, fueled by Violet's brutal "truth telling", which results in Barbara pouncing on her mother. She decides she has had enough of her mother's drug addiction and confiscates all her several kinds of pills. Later, after Violet has had a chance to sober up, she has a tender moment with her daughters and shares a story that demonstrates how cruel her own mother was when she longed for a new pair of cowgirl boots when she was in her early teens.
As Little Charles sings Ivy a song he has written for her, Mattie Fae walks in and berates him. This exhausts Charles's patience with his wife's lack of love and compassion for her son, and he threatens to leave her if she keeps it up. Mattie subsequently reveals to Barbara, who unintentionally listened in, that she had a long-ago affair with Beverly, and Charles is in fact their younger half-brother and that is the true reason why Ivy and "Little Charles" cannot be together.
That evening, Steve and Jean are playfully sharing a joint of marijuana. Johnna sees this and, sensing that he intends on molesting her, goes after him with a shovel. Barbara confronts Jean and slaps her. This impels Bill to take Jean back to Colorado, leaving Barbara. Karen also leaves with Steve.
Later, Ivy tries to tell her mother about her love for Little Charles. Barbara tries to deflect the admission. Violet tells Ivy Charles is actually her brother, something she knew all along. Ivy leaves and promises to never come back. In the last confrontation between Violet and Barbara, Violet admits she was contacted by Beverly from his motel the week after he had left home, but did nothing to help him until after she removed money from the couple's joint safe deposit box. By this time he had already drowned. This revelation leads Barbara to depart. Violet is left with only Johnna.
Barbara is driving through the plains, stops, gets out of the car, cries then gets back in the car and follows signage showing highways and number of miles to Wichita, Salina and Denver. | Johnna |
What ethnicity is Johnna? | movie | The title designates time and location: an unusually hot August in a rural area outside Pawhuska, Oklahoma. Beverly Weston (Sam Shepard), an alcoholic, once-noted poet, interviews and hires a young native American woman Johnna (Misty Upham) as a live-in cook and caregiver for his strong-willed and contentious wife Violet (Meryl Streep), who is suffering from oral cancer and addiction to narcotics. Shortly after this, he disappears from the house, and Violet calls her sister and daughters for support. Her sister Mattie Fae (Margo Martindale) arrives with husband Charles Aiken (Chris Cooper). Violet's middle daughter Ivy (Julianne Nicholson) is single and the only one living locally; Barbara (Julia Roberts), her oldest, who has inherited her mother's mean streak, arrives from Colorado with her husband Bill (Ewan McGregor) and 14-year-old daughter Jean (Abigail Breslin). Barbara and Bill are separated, but they put up a united front for Violet.
After five days, the sheriff arrives with the news that Beverly took his boat out on the lake and has drowned. Youngest daughter Karen (Juliette Lewis) arrives with the latest in a string of boyfriends, Steve Huberbrecht (Dermot Mulroney), a sleazy Florida businessman whom she introduces as her fiancĂŠ. Mattie Fae and Charles's shy, awkward son "Little Charles" (Benedict Cumberbatch) misses the funeral because he overslept and is met at the bus station by his father. Charles loves his son, whereas Mattie constantly belittles him. Ivy confides to Barbara that she is in love with her cousin, Little Charles, who plans to move to New York, and she cannot have children because she had a hysterectomy. She feels this is her only chance to finally marry.
The family sits down to dinner after the funeral, fueled by Violet's brutal "truth telling", which results in Barbara pouncing on her mother. She decides she has had enough of her mother's drug addiction and confiscates all her several kinds of pills. Later, after Violet has had a chance to sober up, she has a tender moment with her daughters and shares a story that demonstrates how cruel her own mother was when she longed for a new pair of cowgirl boots when she was in her early teens.
As Little Charles sings Ivy a song he has written for her, Mattie Fae walks in and berates him. This exhausts Charles's patience with his wife's lack of love and compassion for her son, and he threatens to leave her if she keeps it up. Mattie subsequently reveals to Barbara, who unintentionally listened in, that she had a long-ago affair with Beverly, and Charles is in fact their younger half-brother and that is the true reason why Ivy and "Little Charles" cannot be together.
That evening, Steve and Jean are playfully sharing a joint of marijuana. Johnna sees this and, sensing that he intends on molesting her, goes after him with a shovel. Barbara confronts Jean and slaps her. This impels Bill to take Jean back to Colorado, leaving Barbara. Karen also leaves with Steve.
Later, Ivy tries to tell her mother about her love for Little Charles. Barbara tries to deflect the admission. Violet tells Ivy Charles is actually her brother, something she knew all along. Ivy leaves and promises to never come back. In the last confrontation between Violet and Barbara, Violet admits she was contacted by Beverly from his motel the week after he had left home, but did nothing to help him until after she removed money from the couple's joint safe deposit box. By this time he had already drowned. This revelation leads Barbara to depart. Violet is left with only Johnna.
Barbara is driving through the plains, stops, gets out of the car, cries then gets back in the car and follows signage showing highways and number of miles to Wichita, Salina and Denver. | She is Native American |
Who is Violet's only daughter that lives in the area? | movie | The title designates time and location: an unusually hot August in a rural area outside Pawhuska, Oklahoma. Beverly Weston (Sam Shepard), an alcoholic, once-noted poet, interviews and hires a young native American woman Johnna (Misty Upham) as a live-in cook and caregiver for his strong-willed and contentious wife Violet (Meryl Streep), who is suffering from oral cancer and addiction to narcotics. Shortly after this, he disappears from the house, and Violet calls her sister and daughters for support. Her sister Mattie Fae (Margo Martindale) arrives with husband Charles Aiken (Chris Cooper). Violet's middle daughter Ivy (Julianne Nicholson) is single and the only one living locally; Barbara (Julia Roberts), her oldest, who has inherited her mother's mean streak, arrives from Colorado with her husband Bill (Ewan McGregor) and 14-year-old daughter Jean (Abigail Breslin). Barbara and Bill are separated, but they put up a united front for Violet.
After five days, the sheriff arrives with the news that Beverly took his boat out on the lake and has drowned. Youngest daughter Karen (Juliette Lewis) arrives with the latest in a string of boyfriends, Steve Huberbrecht (Dermot Mulroney), a sleazy Florida businessman whom she introduces as her fiancĂŠ. Mattie Fae and Charles's shy, awkward son "Little Charles" (Benedict Cumberbatch) misses the funeral because he overslept and is met at the bus station by his father. Charles loves his son, whereas Mattie constantly belittles him. Ivy confides to Barbara that she is in love with her cousin, Little Charles, who plans to move to New York, and she cannot have children because she had a hysterectomy. She feels this is her only chance to finally marry.
The family sits down to dinner after the funeral, fueled by Violet's brutal "truth telling", which results in Barbara pouncing on her mother. She decides she has had enough of her mother's drug addiction and confiscates all her several kinds of pills. Later, after Violet has had a chance to sober up, she has a tender moment with her daughters and shares a story that demonstrates how cruel her own mother was when she longed for a new pair of cowgirl boots when she was in her early teens.
As Little Charles sings Ivy a song he has written for her, Mattie Fae walks in and berates him. This exhausts Charles's patience with his wife's lack of love and compassion for her son, and he threatens to leave her if she keeps it up. Mattie subsequently reveals to Barbara, who unintentionally listened in, that she had a long-ago affair with Beverly, and Charles is in fact their younger half-brother and that is the true reason why Ivy and "Little Charles" cannot be together.
That evening, Steve and Jean are playfully sharing a joint of marijuana. Johnna sees this and, sensing that he intends on molesting her, goes after him with a shovel. Barbara confronts Jean and slaps her. This impels Bill to take Jean back to Colorado, leaving Barbara. Karen also leaves with Steve.
Later, Ivy tries to tell her mother about her love for Little Charles. Barbara tries to deflect the admission. Violet tells Ivy Charles is actually her brother, something she knew all along. Ivy leaves and promises to never come back. In the last confrontation between Violet and Barbara, Violet admits she was contacted by Beverly from his motel the week after he had left home, but did nothing to help him until after she removed money from the couple's joint safe deposit box. By this time he had already drowned. This revelation leads Barbara to depart. Violet is left with only Johnna.
Barbara is driving through the plains, stops, gets out of the car, cries then gets back in the car and follows signage showing highways and number of miles to Wichita, Salina and Denver. | Ivy |
How old is Barbara's daughter? | movie | The title designates time and location: an unusually hot August in a rural area outside Pawhuska, Oklahoma. Beverly Weston (Sam Shepard), an alcoholic, once-noted poet, interviews and hires a young native American woman Johnna (Misty Upham) as a live-in cook and caregiver for his strong-willed and contentious wife Violet (Meryl Streep), who is suffering from oral cancer and addiction to narcotics. Shortly after this, he disappears from the house, and Violet calls her sister and daughters for support. Her sister Mattie Fae (Margo Martindale) arrives with husband Charles Aiken (Chris Cooper). Violet's middle daughter Ivy (Julianne Nicholson) is single and the only one living locally; Barbara (Julia Roberts), her oldest, who has inherited her mother's mean streak, arrives from Colorado with her husband Bill (Ewan McGregor) and 14-year-old daughter Jean (Abigail Breslin). Barbara and Bill are separated, but they put up a united front for Violet.
After five days, the sheriff arrives with the news that Beverly took his boat out on the lake and has drowned. Youngest daughter Karen (Juliette Lewis) arrives with the latest in a string of boyfriends, Steve Huberbrecht (Dermot Mulroney), a sleazy Florida businessman whom she introduces as her fiancĂŠ. Mattie Fae and Charles's shy, awkward son "Little Charles" (Benedict Cumberbatch) misses the funeral because he overslept and is met at the bus station by his father. Charles loves his son, whereas Mattie constantly belittles him. Ivy confides to Barbara that she is in love with her cousin, Little Charles, who plans to move to New York, and she cannot have children because she had a hysterectomy. She feels this is her only chance to finally marry.
The family sits down to dinner after the funeral, fueled by Violet's brutal "truth telling", which results in Barbara pouncing on her mother. She decides she has had enough of her mother's drug addiction and confiscates all her several kinds of pills. Later, after Violet has had a chance to sober up, she has a tender moment with her daughters and shares a story that demonstrates how cruel her own mother was when she longed for a new pair of cowgirl boots when she was in her early teens.
As Little Charles sings Ivy a song he has written for her, Mattie Fae walks in and berates him. This exhausts Charles's patience with his wife's lack of love and compassion for her son, and he threatens to leave her if she keeps it up. Mattie subsequently reveals to Barbara, who unintentionally listened in, that she had a long-ago affair with Beverly, and Charles is in fact their younger half-brother and that is the true reason why Ivy and "Little Charles" cannot be together.
That evening, Steve and Jean are playfully sharing a joint of marijuana. Johnna sees this and, sensing that he intends on molesting her, goes after him with a shovel. Barbara confronts Jean and slaps her. This impels Bill to take Jean back to Colorado, leaving Barbara. Karen also leaves with Steve.
Later, Ivy tries to tell her mother about her love for Little Charles. Barbara tries to deflect the admission. Violet tells Ivy Charles is actually her brother, something she knew all along. Ivy leaves and promises to never come back. In the last confrontation between Violet and Barbara, Violet admits she was contacted by Beverly from his motel the week after he had left home, but did nothing to help him until after she removed money from the couple's joint safe deposit box. By this time he had already drowned. This revelation leads Barbara to depart. Violet is left with only Johnna.
Barbara is driving through the plains, stops, gets out of the car, cries then gets back in the car and follows signage showing highways and number of miles to Wichita, Salina and Denver. | Fourteen years old |
How many days pass before the Sherriff informs the family about Beverly's death? | movie | The title designates time and location: an unusually hot August in a rural area outside Pawhuska, Oklahoma. Beverly Weston (Sam Shepard), an alcoholic, once-noted poet, interviews and hires a young native American woman Johnna (Misty Upham) as a live-in cook and caregiver for his strong-willed and contentious wife Violet (Meryl Streep), who is suffering from oral cancer and addiction to narcotics. Shortly after this, he disappears from the house, and Violet calls her sister and daughters for support. Her sister Mattie Fae (Margo Martindale) arrives with husband Charles Aiken (Chris Cooper). Violet's middle daughter Ivy (Julianne Nicholson) is single and the only one living locally; Barbara (Julia Roberts), her oldest, who has inherited her mother's mean streak, arrives from Colorado with her husband Bill (Ewan McGregor) and 14-year-old daughter Jean (Abigail Breslin). Barbara and Bill are separated, but they put up a united front for Violet.
After five days, the sheriff arrives with the news that Beverly took his boat out on the lake and has drowned. Youngest daughter Karen (Juliette Lewis) arrives with the latest in a string of boyfriends, Steve Huberbrecht (Dermot Mulroney), a sleazy Florida businessman whom she introduces as her fiancĂŠ. Mattie Fae and Charles's shy, awkward son "Little Charles" (Benedict Cumberbatch) misses the funeral because he overslept and is met at the bus station by his father. Charles loves his son, whereas Mattie constantly belittles him. Ivy confides to Barbara that she is in love with her cousin, Little Charles, who plans to move to New York, and she cannot have children because she had a hysterectomy. She feels this is her only chance to finally marry.
The family sits down to dinner after the funeral, fueled by Violet's brutal "truth telling", which results in Barbara pouncing on her mother. She decides she has had enough of her mother's drug addiction and confiscates all her several kinds of pills. Later, after Violet has had a chance to sober up, she has a tender moment with her daughters and shares a story that demonstrates how cruel her own mother was when she longed for a new pair of cowgirl boots when she was in her early teens.
As Little Charles sings Ivy a song he has written for her, Mattie Fae walks in and berates him. This exhausts Charles's patience with his wife's lack of love and compassion for her son, and he threatens to leave her if she keeps it up. Mattie subsequently reveals to Barbara, who unintentionally listened in, that she had a long-ago affair with Beverly, and Charles is in fact their younger half-brother and that is the true reason why Ivy and "Little Charles" cannot be together.
That evening, Steve and Jean are playfully sharing a joint of marijuana. Johnna sees this and, sensing that he intends on molesting her, goes after him with a shovel. Barbara confronts Jean and slaps her. This impels Bill to take Jean back to Colorado, leaving Barbara. Karen also leaves with Steve.
Later, Ivy tries to tell her mother about her love for Little Charles. Barbara tries to deflect the admission. Violet tells Ivy Charles is actually her brother, something she knew all along. Ivy leaves and promises to never come back. In the last confrontation between Violet and Barbara, Violet admits she was contacted by Beverly from his motel the week after he had left home, but did nothing to help him until after she removed money from the couple's joint safe deposit box. By this time he had already drowned. This revelation leads Barbara to depart. Violet is left with only Johnna.
Barbara is driving through the plains, stops, gets out of the car, cries then gets back in the car and follows signage showing highways and number of miles to Wichita, Salina and Denver. | Five days |
Why can't Ivy have children? | movie | The title designates time and location: an unusually hot August in a rural area outside Pawhuska, Oklahoma. Beverly Weston (Sam Shepard), an alcoholic, once-noted poet, interviews and hires a young native American woman Johnna (Misty Upham) as a live-in cook and caregiver for his strong-willed and contentious wife Violet (Meryl Streep), who is suffering from oral cancer and addiction to narcotics. Shortly after this, he disappears from the house, and Violet calls her sister and daughters for support. Her sister Mattie Fae (Margo Martindale) arrives with husband Charles Aiken (Chris Cooper). Violet's middle daughter Ivy (Julianne Nicholson) is single and the only one living locally; Barbara (Julia Roberts), her oldest, who has inherited her mother's mean streak, arrives from Colorado with her husband Bill (Ewan McGregor) and 14-year-old daughter Jean (Abigail Breslin). Barbara and Bill are separated, but they put up a united front for Violet.
After five days, the sheriff arrives with the news that Beverly took his boat out on the lake and has drowned. Youngest daughter Karen (Juliette Lewis) arrives with the latest in a string of boyfriends, Steve Huberbrecht (Dermot Mulroney), a sleazy Florida businessman whom she introduces as her fiancĂŠ. Mattie Fae and Charles's shy, awkward son "Little Charles" (Benedict Cumberbatch) misses the funeral because he overslept and is met at the bus station by his father. Charles loves his son, whereas Mattie constantly belittles him. Ivy confides to Barbara that she is in love with her cousin, Little Charles, who plans to move to New York, and she cannot have children because she had a hysterectomy. She feels this is her only chance to finally marry.
The family sits down to dinner after the funeral, fueled by Violet's brutal "truth telling", which results in Barbara pouncing on her mother. She decides she has had enough of her mother's drug addiction and confiscates all her several kinds of pills. Later, after Violet has had a chance to sober up, she has a tender moment with her daughters and shares a story that demonstrates how cruel her own mother was when she longed for a new pair of cowgirl boots when she was in her early teens.
As Little Charles sings Ivy a song he has written for her, Mattie Fae walks in and berates him. This exhausts Charles's patience with his wife's lack of love and compassion for her son, and he threatens to leave her if she keeps it up. Mattie subsequently reveals to Barbara, who unintentionally listened in, that she had a long-ago affair with Beverly, and Charles is in fact their younger half-brother and that is the true reason why Ivy and "Little Charles" cannot be together.
That evening, Steve and Jean are playfully sharing a joint of marijuana. Johnna sees this and, sensing that he intends on molesting her, goes after him with a shovel. Barbara confronts Jean and slaps her. This impels Bill to take Jean back to Colorado, leaving Barbara. Karen also leaves with Steve.
Later, Ivy tries to tell her mother about her love for Little Charles. Barbara tries to deflect the admission. Violet tells Ivy Charles is actually her brother, something she knew all along. Ivy leaves and promises to never come back. In the last confrontation between Violet and Barbara, Violet admits she was contacted by Beverly from his motel the week after he had left home, but did nothing to help him until after she removed money from the couple's joint safe deposit box. By this time he had already drowned. This revelation leads Barbara to depart. Violet is left with only Johnna.
Barbara is driving through the plains, stops, gets out of the car, cries then gets back in the car and follows signage showing highways and number of miles to Wichita, Salina and Denver. | Because she had a hysterectomy |
What is the true reason that Charles and Ivy cannot be together? | movie | The title designates time and location: an unusually hot August in a rural area outside Pawhuska, Oklahoma. Beverly Weston (Sam Shepard), an alcoholic, once-noted poet, interviews and hires a young native American woman Johnna (Misty Upham) as a live-in cook and caregiver for his strong-willed and contentious wife Violet (Meryl Streep), who is suffering from oral cancer and addiction to narcotics. Shortly after this, he disappears from the house, and Violet calls her sister and daughters for support. Her sister Mattie Fae (Margo Martindale) arrives with husband Charles Aiken (Chris Cooper). Violet's middle daughter Ivy (Julianne Nicholson) is single and the only one living locally; Barbara (Julia Roberts), her oldest, who has inherited her mother's mean streak, arrives from Colorado with her husband Bill (Ewan McGregor) and 14-year-old daughter Jean (Abigail Breslin). Barbara and Bill are separated, but they put up a united front for Violet.
After five days, the sheriff arrives with the news that Beverly took his boat out on the lake and has drowned. Youngest daughter Karen (Juliette Lewis) arrives with the latest in a string of boyfriends, Steve Huberbrecht (Dermot Mulroney), a sleazy Florida businessman whom she introduces as her fiancĂŠ. Mattie Fae and Charles's shy, awkward son "Little Charles" (Benedict Cumberbatch) misses the funeral because he overslept and is met at the bus station by his father. Charles loves his son, whereas Mattie constantly belittles him. Ivy confides to Barbara that she is in love with her cousin, Little Charles, who plans to move to New York, and she cannot have children because she had a hysterectomy. She feels this is her only chance to finally marry.
The family sits down to dinner after the funeral, fueled by Violet's brutal "truth telling", which results in Barbara pouncing on her mother. She decides she has had enough of her mother's drug addiction and confiscates all her several kinds of pills. Later, after Violet has had a chance to sober up, she has a tender moment with her daughters and shares a story that demonstrates how cruel her own mother was when she longed for a new pair of cowgirl boots when she was in her early teens.
As Little Charles sings Ivy a song he has written for her, Mattie Fae walks in and berates him. This exhausts Charles's patience with his wife's lack of love and compassion for her son, and he threatens to leave her if she keeps it up. Mattie subsequently reveals to Barbara, who unintentionally listened in, that she had a long-ago affair with Beverly, and Charles is in fact their younger half-brother and that is the true reason why Ivy and "Little Charles" cannot be together.
That evening, Steve and Jean are playfully sharing a joint of marijuana. Johnna sees this and, sensing that he intends on molesting her, goes after him with a shovel. Barbara confronts Jean and slaps her. This impels Bill to take Jean back to Colorado, leaving Barbara. Karen also leaves with Steve.
Later, Ivy tries to tell her mother about her love for Little Charles. Barbara tries to deflect the admission. Violet tells Ivy Charles is actually her brother, something she knew all along. Ivy leaves and promises to never come back. In the last confrontation between Violet and Barbara, Violet admits she was contacted by Beverly from his motel the week after he had left home, but did nothing to help him until after she removed money from the couple's joint safe deposit box. By this time he had already drowned. This revelation leads Barbara to depart. Violet is left with only Johnna.
Barbara is driving through the plains, stops, gets out of the car, cries then gets back in the car and follows signage showing highways and number of miles to Wichita, Salina and Denver. | Because they are siblings |
Where is Osage County located? | movie | The title designates time and location: an unusually hot August in a rural area outside Pawhuska, Oklahoma. Beverly Weston (Sam Shepard), an alcoholic, once-noted poet, interviews and hires a young native American woman Johnna (Misty Upham) as a live-in cook and caregiver for his strong-willed and contentious wife Violet (Meryl Streep), who is suffering from oral cancer and addiction to narcotics. Shortly after this, he disappears from the house, and Violet calls her sister and daughters for support. Her sister Mattie Fae (Margo Martindale) arrives with husband Charles Aiken (Chris Cooper). Violet's middle daughter Ivy (Julianne Nicholson) is single and the only one living locally; Barbara (Julia Roberts), her oldest, who has inherited her mother's mean streak, arrives from Colorado with her husband Bill (Ewan McGregor) and 14-year-old daughter Jean (Abigail Breslin). Barbara and Bill are separated, but they put up a united front for Violet.
After five days, the sheriff arrives with the news that Beverly took his boat out on the lake and has drowned. Youngest daughter Karen (Juliette Lewis) arrives with the latest in a string of boyfriends, Steve Huberbrecht (Dermot Mulroney), a sleazy Florida businessman whom she introduces as her fiancĂŠ. Mattie Fae and Charles's shy, awkward son "Little Charles" (Benedict Cumberbatch) misses the funeral because he overslept and is met at the bus station by his father. Charles loves his son, whereas Mattie constantly belittles him. Ivy confides to Barbara that she is in love with her cousin, Little Charles, who plans to move to New York, and she cannot have children because she had a hysterectomy. She feels this is her only chance to finally marry.
The family sits down to dinner after the funeral, fueled by Violet's brutal "truth telling", which results in Barbara pouncing on her mother. She decides she has had enough of her mother's drug addiction and confiscates all her several kinds of pills. Later, after Violet has had a chance to sober up, she has a tender moment with her daughters and shares a story that demonstrates how cruel her own mother was when she longed for a new pair of cowgirl boots when she was in her early teens.
As Little Charles sings Ivy a song he has written for her, Mattie Fae walks in and berates him. This exhausts Charles's patience with his wife's lack of love and compassion for her son, and he threatens to leave her if she keeps it up. Mattie subsequently reveals to Barbara, who unintentionally listened in, that she had a long-ago affair with Beverly, and Charles is in fact their younger half-brother and that is the true reason why Ivy and "Little Charles" cannot be together.
That evening, Steve and Jean are playfully sharing a joint of marijuana. Johnna sees this and, sensing that he intends on molesting her, goes after him with a shovel. Barbara confronts Jean and slaps her. This impels Bill to take Jean back to Colorado, leaving Barbara. Karen also leaves with Steve.
Later, Ivy tries to tell her mother about her love for Little Charles. Barbara tries to deflect the admission. Violet tells Ivy Charles is actually her brother, something she knew all along. Ivy leaves and promises to never come back. In the last confrontation between Violet and Barbara, Violet admits she was contacted by Beverly from his motel the week after he had left home, but did nothing to help him until after she removed money from the couple's joint safe deposit box. By this time he had already drowned. This revelation leads Barbara to depart. Violet is left with only Johnna.
Barbara is driving through the plains, stops, gets out of the car, cries then gets back in the car and follows signage showing highways and number of miles to Wichita, Salina and Denver. | Oklahoma. |
What is Beverly Weston's profession? | movie | The title designates time and location: an unusually hot August in a rural area outside Pawhuska, Oklahoma. Beverly Weston (Sam Shepard), an alcoholic, once-noted poet, interviews and hires a young native American woman Johnna (Misty Upham) as a live-in cook and caregiver for his strong-willed and contentious wife Violet (Meryl Streep), who is suffering from oral cancer and addiction to narcotics. Shortly after this, he disappears from the house, and Violet calls her sister and daughters for support. Her sister Mattie Fae (Margo Martindale) arrives with husband Charles Aiken (Chris Cooper). Violet's middle daughter Ivy (Julianne Nicholson) is single and the only one living locally; Barbara (Julia Roberts), her oldest, who has inherited her mother's mean streak, arrives from Colorado with her husband Bill (Ewan McGregor) and 14-year-old daughter Jean (Abigail Breslin). Barbara and Bill are separated, but they put up a united front for Violet.
After five days, the sheriff arrives with the news that Beverly took his boat out on the lake and has drowned. Youngest daughter Karen (Juliette Lewis) arrives with the latest in a string of boyfriends, Steve Huberbrecht (Dermot Mulroney), a sleazy Florida businessman whom she introduces as her fiancĂŠ. Mattie Fae and Charles's shy, awkward son "Little Charles" (Benedict Cumberbatch) misses the funeral because he overslept and is met at the bus station by his father. Charles loves his son, whereas Mattie constantly belittles him. Ivy confides to Barbara that she is in love with her cousin, Little Charles, who plans to move to New York, and she cannot have children because she had a hysterectomy. She feels this is her only chance to finally marry.
The family sits down to dinner after the funeral, fueled by Violet's brutal "truth telling", which results in Barbara pouncing on her mother. She decides she has had enough of her mother's drug addiction and confiscates all her several kinds of pills. Later, after Violet has had a chance to sober up, she has a tender moment with her daughters and shares a story that demonstrates how cruel her own mother was when she longed for a new pair of cowgirl boots when she was in her early teens.
As Little Charles sings Ivy a song he has written for her, Mattie Fae walks in and berates him. This exhausts Charles's patience with his wife's lack of love and compassion for her son, and he threatens to leave her if she keeps it up. Mattie subsequently reveals to Barbara, who unintentionally listened in, that she had a long-ago affair with Beverly, and Charles is in fact their younger half-brother and that is the true reason why Ivy and "Little Charles" cannot be together.
That evening, Steve and Jean are playfully sharing a joint of marijuana. Johnna sees this and, sensing that he intends on molesting her, goes after him with a shovel. Barbara confronts Jean and slaps her. This impels Bill to take Jean back to Colorado, leaving Barbara. Karen also leaves with Steve.
Later, Ivy tries to tell her mother about her love for Little Charles. Barbara tries to deflect the admission. Violet tells Ivy Charles is actually her brother, something she knew all along. Ivy leaves and promises to never come back. In the last confrontation between Violet and Barbara, Violet admits she was contacted by Beverly from his motel the week after he had left home, but did nothing to help him until after she removed money from the couple's joint safe deposit box. By this time he had already drowned. This revelation leads Barbara to depart. Violet is left with only Johnna.
Barbara is driving through the plains, stops, gets out of the car, cries then gets back in the car and follows signage showing highways and number of miles to Wichita, Salina and Denver. | He is a poet. |
What is Johnna's ethnicity? | movie | The title designates time and location: an unusually hot August in a rural area outside Pawhuska, Oklahoma. Beverly Weston (Sam Shepard), an alcoholic, once-noted poet, interviews and hires a young native American woman Johnna (Misty Upham) as a live-in cook and caregiver for his strong-willed and contentious wife Violet (Meryl Streep), who is suffering from oral cancer and addiction to narcotics. Shortly after this, he disappears from the house, and Violet calls her sister and daughters for support. Her sister Mattie Fae (Margo Martindale) arrives with husband Charles Aiken (Chris Cooper). Violet's middle daughter Ivy (Julianne Nicholson) is single and the only one living locally; Barbara (Julia Roberts), her oldest, who has inherited her mother's mean streak, arrives from Colorado with her husband Bill (Ewan McGregor) and 14-year-old daughter Jean (Abigail Breslin). Barbara and Bill are separated, but they put up a united front for Violet.
After five days, the sheriff arrives with the news that Beverly took his boat out on the lake and has drowned. Youngest daughter Karen (Juliette Lewis) arrives with the latest in a string of boyfriends, Steve Huberbrecht (Dermot Mulroney), a sleazy Florida businessman whom she introduces as her fiancĂŠ. Mattie Fae and Charles's shy, awkward son "Little Charles" (Benedict Cumberbatch) misses the funeral because he overslept and is met at the bus station by his father. Charles loves his son, whereas Mattie constantly belittles him. Ivy confides to Barbara that she is in love with her cousin, Little Charles, who plans to move to New York, and she cannot have children because she had a hysterectomy. She feels this is her only chance to finally marry.
The family sits down to dinner after the funeral, fueled by Violet's brutal "truth telling", which results in Barbara pouncing on her mother. She decides she has had enough of her mother's drug addiction and confiscates all her several kinds of pills. Later, after Violet has had a chance to sober up, she has a tender moment with her daughters and shares a story that demonstrates how cruel her own mother was when she longed for a new pair of cowgirl boots when she was in her early teens.
As Little Charles sings Ivy a song he has written for her, Mattie Fae walks in and berates him. This exhausts Charles's patience with his wife's lack of love and compassion for her son, and he threatens to leave her if she keeps it up. Mattie subsequently reveals to Barbara, who unintentionally listened in, that she had a long-ago affair with Beverly, and Charles is in fact their younger half-brother and that is the true reason why Ivy and "Little Charles" cannot be together.
That evening, Steve and Jean are playfully sharing a joint of marijuana. Johnna sees this and, sensing that he intends on molesting her, goes after him with a shovel. Barbara confronts Jean and slaps her. This impels Bill to take Jean back to Colorado, leaving Barbara. Karen also leaves with Steve.
Later, Ivy tries to tell her mother about her love for Little Charles. Barbara tries to deflect the admission. Violet tells Ivy Charles is actually her brother, something she knew all along. Ivy leaves and promises to never come back. In the last confrontation between Violet and Barbara, Violet admits she was contacted by Beverly from his motel the week after he had left home, but did nothing to help him until after she removed money from the couple's joint safe deposit box. By this time he had already drowned. This revelation leads Barbara to depart. Violet is left with only Johnna.
Barbara is driving through the plains, stops, gets out of the car, cries then gets back in the car and follows signage showing highways and number of miles to Wichita, Salina and Denver. | She is a native American. |
Who is Mattie Fae? | movie | The title designates time and location: an unusually hot August in a rural area outside Pawhuska, Oklahoma. Beverly Weston (Sam Shepard), an alcoholic, once-noted poet, interviews and hires a young native American woman Johnna (Misty Upham) as a live-in cook and caregiver for his strong-willed and contentious wife Violet (Meryl Streep), who is suffering from oral cancer and addiction to narcotics. Shortly after this, he disappears from the house, and Violet calls her sister and daughters for support. Her sister Mattie Fae (Margo Martindale) arrives with husband Charles Aiken (Chris Cooper). Violet's middle daughter Ivy (Julianne Nicholson) is single and the only one living locally; Barbara (Julia Roberts), her oldest, who has inherited her mother's mean streak, arrives from Colorado with her husband Bill (Ewan McGregor) and 14-year-old daughter Jean (Abigail Breslin). Barbara and Bill are separated, but they put up a united front for Violet.
After five days, the sheriff arrives with the news that Beverly took his boat out on the lake and has drowned. Youngest daughter Karen (Juliette Lewis) arrives with the latest in a string of boyfriends, Steve Huberbrecht (Dermot Mulroney), a sleazy Florida businessman whom she introduces as her fiancĂŠ. Mattie Fae and Charles's shy, awkward son "Little Charles" (Benedict Cumberbatch) misses the funeral because he overslept and is met at the bus station by his father. Charles loves his son, whereas Mattie constantly belittles him. Ivy confides to Barbara that she is in love with her cousin, Little Charles, who plans to move to New York, and she cannot have children because she had a hysterectomy. She feels this is her only chance to finally marry.
The family sits down to dinner after the funeral, fueled by Violet's brutal "truth telling", which results in Barbara pouncing on her mother. She decides she has had enough of her mother's drug addiction and confiscates all her several kinds of pills. Later, after Violet has had a chance to sober up, she has a tender moment with her daughters and shares a story that demonstrates how cruel her own mother was when she longed for a new pair of cowgirl boots when she was in her early teens.
As Little Charles sings Ivy a song he has written for her, Mattie Fae walks in and berates him. This exhausts Charles's patience with his wife's lack of love and compassion for her son, and he threatens to leave her if she keeps it up. Mattie subsequently reveals to Barbara, who unintentionally listened in, that she had a long-ago affair with Beverly, and Charles is in fact their younger half-brother and that is the true reason why Ivy and "Little Charles" cannot be together.
That evening, Steve and Jean are playfully sharing a joint of marijuana. Johnna sees this and, sensing that he intends on molesting her, goes after him with a shovel. Barbara confronts Jean and slaps her. This impels Bill to take Jean back to Colorado, leaving Barbara. Karen also leaves with Steve.
Later, Ivy tries to tell her mother about her love for Little Charles. Barbara tries to deflect the admission. Violet tells Ivy Charles is actually her brother, something she knew all along. Ivy leaves and promises to never come back. In the last confrontation between Violet and Barbara, Violet admits she was contacted by Beverly from his motel the week after he had left home, but did nothing to help him until after she removed money from the couple's joint safe deposit box. By this time he had already drowned. This revelation leads Barbara to depart. Violet is left with only Johnna.
Barbara is driving through the plains, stops, gets out of the car, cries then gets back in the car and follows signage showing highways and number of miles to Wichita, Salina and Denver. | Violet's sister. |
How many daughters do Violet and Beverly Weston have? | movie | The title designates time and location: an unusually hot August in a rural area outside Pawhuska, Oklahoma. Beverly Weston (Sam Shepard), an alcoholic, once-noted poet, interviews and hires a young native American woman Johnna (Misty Upham) as a live-in cook and caregiver for his strong-willed and contentious wife Violet (Meryl Streep), who is suffering from oral cancer and addiction to narcotics. Shortly after this, he disappears from the house, and Violet calls her sister and daughters for support. Her sister Mattie Fae (Margo Martindale) arrives with husband Charles Aiken (Chris Cooper). Violet's middle daughter Ivy (Julianne Nicholson) is single and the only one living locally; Barbara (Julia Roberts), her oldest, who has inherited her mother's mean streak, arrives from Colorado with her husband Bill (Ewan McGregor) and 14-year-old daughter Jean (Abigail Breslin). Barbara and Bill are separated, but they put up a united front for Violet.
After five days, the sheriff arrives with the news that Beverly took his boat out on the lake and has drowned. Youngest daughter Karen (Juliette Lewis) arrives with the latest in a string of boyfriends, Steve Huberbrecht (Dermot Mulroney), a sleazy Florida businessman whom she introduces as her fiancĂŠ. Mattie Fae and Charles's shy, awkward son "Little Charles" (Benedict Cumberbatch) misses the funeral because he overslept and is met at the bus station by his father. Charles loves his son, whereas Mattie constantly belittles him. Ivy confides to Barbara that she is in love with her cousin, Little Charles, who plans to move to New York, and she cannot have children because she had a hysterectomy. She feels this is her only chance to finally marry.
The family sits down to dinner after the funeral, fueled by Violet's brutal "truth telling", which results in Barbara pouncing on her mother. She decides she has had enough of her mother's drug addiction and confiscates all her several kinds of pills. Later, after Violet has had a chance to sober up, she has a tender moment with her daughters and shares a story that demonstrates how cruel her own mother was when she longed for a new pair of cowgirl boots when she was in her early teens.
As Little Charles sings Ivy a song he has written for her, Mattie Fae walks in and berates him. This exhausts Charles's patience with his wife's lack of love and compassion for her son, and he threatens to leave her if she keeps it up. Mattie subsequently reveals to Barbara, who unintentionally listened in, that she had a long-ago affair with Beverly, and Charles is in fact their younger half-brother and that is the true reason why Ivy and "Little Charles" cannot be together.
That evening, Steve and Jean are playfully sharing a joint of marijuana. Johnna sees this and, sensing that he intends on molesting her, goes after him with a shovel. Barbara confronts Jean and slaps her. This impels Bill to take Jean back to Colorado, leaving Barbara. Karen also leaves with Steve.
Later, Ivy tries to tell her mother about her love for Little Charles. Barbara tries to deflect the admission. Violet tells Ivy Charles is actually her brother, something she knew all along. Ivy leaves and promises to never come back. In the last confrontation between Violet and Barbara, Violet admits she was contacted by Beverly from his motel the week after he had left home, but did nothing to help him until after she removed money from the couple's joint safe deposit box. By this time he had already drowned. This revelation leads Barbara to depart. Violet is left with only Johnna.
Barbara is driving through the plains, stops, gets out of the car, cries then gets back in the car and follows signage showing highways and number of miles to Wichita, Salina and Denver. | Three. |
What is the name of Violet and Beverly's oldest daughter? | movie | The title designates time and location: an unusually hot August in a rural area outside Pawhuska, Oklahoma. Beverly Weston (Sam Shepard), an alcoholic, once-noted poet, interviews and hires a young native American woman Johnna (Misty Upham) as a live-in cook and caregiver for his strong-willed and contentious wife Violet (Meryl Streep), who is suffering from oral cancer and addiction to narcotics. Shortly after this, he disappears from the house, and Violet calls her sister and daughters for support. Her sister Mattie Fae (Margo Martindale) arrives with husband Charles Aiken (Chris Cooper). Violet's middle daughter Ivy (Julianne Nicholson) is single and the only one living locally; Barbara (Julia Roberts), her oldest, who has inherited her mother's mean streak, arrives from Colorado with her husband Bill (Ewan McGregor) and 14-year-old daughter Jean (Abigail Breslin). Barbara and Bill are separated, but they put up a united front for Violet.
After five days, the sheriff arrives with the news that Beverly took his boat out on the lake and has drowned. Youngest daughter Karen (Juliette Lewis) arrives with the latest in a string of boyfriends, Steve Huberbrecht (Dermot Mulroney), a sleazy Florida businessman whom she introduces as her fiancĂŠ. Mattie Fae and Charles's shy, awkward son "Little Charles" (Benedict Cumberbatch) misses the funeral because he overslept and is met at the bus station by his father. Charles loves his son, whereas Mattie constantly belittles him. Ivy confides to Barbara that she is in love with her cousin, Little Charles, who plans to move to New York, and she cannot have children because she had a hysterectomy. She feels this is her only chance to finally marry.
The family sits down to dinner after the funeral, fueled by Violet's brutal "truth telling", which results in Barbara pouncing on her mother. She decides she has had enough of her mother's drug addiction and confiscates all her several kinds of pills. Later, after Violet has had a chance to sober up, she has a tender moment with her daughters and shares a story that demonstrates how cruel her own mother was when she longed for a new pair of cowgirl boots when she was in her early teens.
As Little Charles sings Ivy a song he has written for her, Mattie Fae walks in and berates him. This exhausts Charles's patience with his wife's lack of love and compassion for her son, and he threatens to leave her if she keeps it up. Mattie subsequently reveals to Barbara, who unintentionally listened in, that she had a long-ago affair with Beverly, and Charles is in fact their younger half-brother and that is the true reason why Ivy and "Little Charles" cannot be together.
That evening, Steve and Jean are playfully sharing a joint of marijuana. Johnna sees this and, sensing that he intends on molesting her, goes after him with a shovel. Barbara confronts Jean and slaps her. This impels Bill to take Jean back to Colorado, leaving Barbara. Karen also leaves with Steve.
Later, Ivy tries to tell her mother about her love for Little Charles. Barbara tries to deflect the admission. Violet tells Ivy Charles is actually her brother, something she knew all along. Ivy leaves and promises to never come back. In the last confrontation between Violet and Barbara, Violet admits she was contacted by Beverly from his motel the week after he had left home, but did nothing to help him until after she removed money from the couple's joint safe deposit box. By this time he had already drowned. This revelation leads Barbara to depart. Violet is left with only Johnna.
Barbara is driving through the plains, stops, gets out of the car, cries then gets back in the car and follows signage showing highways and number of miles to Wichita, Salina and Denver. | Barbara. |
Where does Barbara live? | movie | The title designates time and location: an unusually hot August in a rural area outside Pawhuska, Oklahoma. Beverly Weston (Sam Shepard), an alcoholic, once-noted poet, interviews and hires a young native American woman Johnna (Misty Upham) as a live-in cook and caregiver for his strong-willed and contentious wife Violet (Meryl Streep), who is suffering from oral cancer and addiction to narcotics. Shortly after this, he disappears from the house, and Violet calls her sister and daughters for support. Her sister Mattie Fae (Margo Martindale) arrives with husband Charles Aiken (Chris Cooper). Violet's middle daughter Ivy (Julianne Nicholson) is single and the only one living locally; Barbara (Julia Roberts), her oldest, who has inherited her mother's mean streak, arrives from Colorado with her husband Bill (Ewan McGregor) and 14-year-old daughter Jean (Abigail Breslin). Barbara and Bill are separated, but they put up a united front for Violet.
After five days, the sheriff arrives with the news that Beverly took his boat out on the lake and has drowned. Youngest daughter Karen (Juliette Lewis) arrives with the latest in a string of boyfriends, Steve Huberbrecht (Dermot Mulroney), a sleazy Florida businessman whom she introduces as her fiancĂŠ. Mattie Fae and Charles's shy, awkward son "Little Charles" (Benedict Cumberbatch) misses the funeral because he overslept and is met at the bus station by his father. Charles loves his son, whereas Mattie constantly belittles him. Ivy confides to Barbara that she is in love with her cousin, Little Charles, who plans to move to New York, and she cannot have children because she had a hysterectomy. She feels this is her only chance to finally marry.
The family sits down to dinner after the funeral, fueled by Violet's brutal "truth telling", which results in Barbara pouncing on her mother. She decides she has had enough of her mother's drug addiction and confiscates all her several kinds of pills. Later, after Violet has had a chance to sober up, she has a tender moment with her daughters and shares a story that demonstrates how cruel her own mother was when she longed for a new pair of cowgirl boots when she was in her early teens.
As Little Charles sings Ivy a song he has written for her, Mattie Fae walks in and berates him. This exhausts Charles's patience with his wife's lack of love and compassion for her son, and he threatens to leave her if she keeps it up. Mattie subsequently reveals to Barbara, who unintentionally listened in, that she had a long-ago affair with Beverly, and Charles is in fact their younger half-brother and that is the true reason why Ivy and "Little Charles" cannot be together.
That evening, Steve and Jean are playfully sharing a joint of marijuana. Johnna sees this and, sensing that he intends on molesting her, goes after him with a shovel. Barbara confronts Jean and slaps her. This impels Bill to take Jean back to Colorado, leaving Barbara. Karen also leaves with Steve.
Later, Ivy tries to tell her mother about her love for Little Charles. Barbara tries to deflect the admission. Violet tells Ivy Charles is actually her brother, something she knew all along. Ivy leaves and promises to never come back. In the last confrontation between Violet and Barbara, Violet admits she was contacted by Beverly from his motel the week after he had left home, but did nothing to help him until after she removed money from the couple's joint safe deposit box. By this time he had already drowned. This revelation leads Barbara to depart. Violet is left with only Johnna.
Barbara is driving through the plains, stops, gets out of the car, cries then gets back in the car and follows signage showing highways and number of miles to Wichita, Salina and Denver. | Colorado. |
What gift did Violet wnat when she was a teenager? | movie | The title designates time and location: an unusually hot August in a rural area outside Pawhuska, Oklahoma. Beverly Weston (Sam Shepard), an alcoholic, once-noted poet, interviews and hires a young native American woman Johnna (Misty Upham) as a live-in cook and caregiver for his strong-willed and contentious wife Violet (Meryl Streep), who is suffering from oral cancer and addiction to narcotics. Shortly after this, he disappears from the house, and Violet calls her sister and daughters for support. Her sister Mattie Fae (Margo Martindale) arrives with husband Charles Aiken (Chris Cooper). Violet's middle daughter Ivy (Julianne Nicholson) is single and the only one living locally; Barbara (Julia Roberts), her oldest, who has inherited her mother's mean streak, arrives from Colorado with her husband Bill (Ewan McGregor) and 14-year-old daughter Jean (Abigail Breslin). Barbara and Bill are separated, but they put up a united front for Violet.
After five days, the sheriff arrives with the news that Beverly took his boat out on the lake and has drowned. Youngest daughter Karen (Juliette Lewis) arrives with the latest in a string of boyfriends, Steve Huberbrecht (Dermot Mulroney), a sleazy Florida businessman whom she introduces as her fiancĂŠ. Mattie Fae and Charles's shy, awkward son "Little Charles" (Benedict Cumberbatch) misses the funeral because he overslept and is met at the bus station by his father. Charles loves his son, whereas Mattie constantly belittles him. Ivy confides to Barbara that she is in love with her cousin, Little Charles, who plans to move to New York, and she cannot have children because she had a hysterectomy. She feels this is her only chance to finally marry.
The family sits down to dinner after the funeral, fueled by Violet's brutal "truth telling", which results in Barbara pouncing on her mother. She decides she has had enough of her mother's drug addiction and confiscates all her several kinds of pills. Later, after Violet has had a chance to sober up, she has a tender moment with her daughters and shares a story that demonstrates how cruel her own mother was when she longed for a new pair of cowgirl boots when she was in her early teens.
As Little Charles sings Ivy a song he has written for her, Mattie Fae walks in and berates him. This exhausts Charles's patience with his wife's lack of love and compassion for her son, and he threatens to leave her if she keeps it up. Mattie subsequently reveals to Barbara, who unintentionally listened in, that she had a long-ago affair with Beverly, and Charles is in fact their younger half-brother and that is the true reason why Ivy and "Little Charles" cannot be together.
That evening, Steve and Jean are playfully sharing a joint of marijuana. Johnna sees this and, sensing that he intends on molesting her, goes after him with a shovel. Barbara confronts Jean and slaps her. This impels Bill to take Jean back to Colorado, leaving Barbara. Karen also leaves with Steve.
Later, Ivy tries to tell her mother about her love for Little Charles. Barbara tries to deflect the admission. Violet tells Ivy Charles is actually her brother, something she knew all along. Ivy leaves and promises to never come back. In the last confrontation between Violet and Barbara, Violet admits she was contacted by Beverly from his motel the week after he had left home, but did nothing to help him until after she removed money from the couple's joint safe deposit box. By this time he had already drowned. This revelation leads Barbara to depart. Violet is left with only Johnna.
Barbara is driving through the plains, stops, gets out of the car, cries then gets back in the car and follows signage showing highways and number of miles to Wichita, Salina and Denver. | A pair of cowboy boots. |
What song does Little Charles sing to Ivy? | movie | The title designates time and location: an unusually hot August in a rural area outside Pawhuska, Oklahoma. Beverly Weston (Sam Shepard), an alcoholic, once-noted poet, interviews and hires a young native American woman Johnna (Misty Upham) as a live-in cook and caregiver for his strong-willed and contentious wife Violet (Meryl Streep), who is suffering from oral cancer and addiction to narcotics. Shortly after this, he disappears from the house, and Violet calls her sister and daughters for support. Her sister Mattie Fae (Margo Martindale) arrives with husband Charles Aiken (Chris Cooper). Violet's middle daughter Ivy (Julianne Nicholson) is single and the only one living locally; Barbara (Julia Roberts), her oldest, who has inherited her mother's mean streak, arrives from Colorado with her husband Bill (Ewan McGregor) and 14-year-old daughter Jean (Abigail Breslin). Barbara and Bill are separated, but they put up a united front for Violet.
After five days, the sheriff arrives with the news that Beverly took his boat out on the lake and has drowned. Youngest daughter Karen (Juliette Lewis) arrives with the latest in a string of boyfriends, Steve Huberbrecht (Dermot Mulroney), a sleazy Florida businessman whom she introduces as her fiancĂŠ. Mattie Fae and Charles's shy, awkward son "Little Charles" (Benedict Cumberbatch) misses the funeral because he overslept and is met at the bus station by his father. Charles loves his son, whereas Mattie constantly belittles him. Ivy confides to Barbara that she is in love with her cousin, Little Charles, who plans to move to New York, and she cannot have children because she had a hysterectomy. She feels this is her only chance to finally marry.
The family sits down to dinner after the funeral, fueled by Violet's brutal "truth telling", which results in Barbara pouncing on her mother. She decides she has had enough of her mother's drug addiction and confiscates all her several kinds of pills. Later, after Violet has had a chance to sober up, she has a tender moment with her daughters and shares a story that demonstrates how cruel her own mother was when she longed for a new pair of cowgirl boots when she was in her early teens.
As Little Charles sings Ivy a song he has written for her, Mattie Fae walks in and berates him. This exhausts Charles's patience with his wife's lack of love and compassion for her son, and he threatens to leave her if she keeps it up. Mattie subsequently reveals to Barbara, who unintentionally listened in, that she had a long-ago affair with Beverly, and Charles is in fact their younger half-brother and that is the true reason why Ivy and "Little Charles" cannot be together.
That evening, Steve and Jean are playfully sharing a joint of marijuana. Johnna sees this and, sensing that he intends on molesting her, goes after him with a shovel. Barbara confronts Jean and slaps her. This impels Bill to take Jean back to Colorado, leaving Barbara. Karen also leaves with Steve.
Later, Ivy tries to tell her mother about her love for Little Charles. Barbara tries to deflect the admission. Violet tells Ivy Charles is actually her brother, something she knew all along. Ivy leaves and promises to never come back. In the last confrontation between Violet and Barbara, Violet admits she was contacted by Beverly from his motel the week after he had left home, but did nothing to help him until after she removed money from the couple's joint safe deposit box. By this time he had already drowned. This revelation leads Barbara to depart. Violet is left with only Johnna.
Barbara is driving through the plains, stops, gets out of the car, cries then gets back in the car and follows signage showing highways and number of miles to Wichita, Salina and Denver. | One he wrote for her. |
How does Beverly die? | movie | The title designates time and location: an unusually hot August in a rural area outside Pawhuska, Oklahoma. Beverly Weston (Sam Shepard), an alcoholic, once-noted poet, interviews and hires a young native American woman Johnna (Misty Upham) as a live-in cook and caregiver for his strong-willed and contentious wife Violet (Meryl Streep), who is suffering from oral cancer and addiction to narcotics. Shortly after this, he disappears from the house, and Violet calls her sister and daughters for support. Her sister Mattie Fae (Margo Martindale) arrives with husband Charles Aiken (Chris Cooper). Violet's middle daughter Ivy (Julianne Nicholson) is single and the only one living locally; Barbara (Julia Roberts), her oldest, who has inherited her mother's mean streak, arrives from Colorado with her husband Bill (Ewan McGregor) and 14-year-old daughter Jean (Abigail Breslin). Barbara and Bill are separated, but they put up a united front for Violet.
After five days, the sheriff arrives with the news that Beverly took his boat out on the lake and has drowned. Youngest daughter Karen (Juliette Lewis) arrives with the latest in a string of boyfriends, Steve Huberbrecht (Dermot Mulroney), a sleazy Florida businessman whom she introduces as her fiancĂŠ. Mattie Fae and Charles's shy, awkward son "Little Charles" (Benedict Cumberbatch) misses the funeral because he overslept and is met at the bus station by his father. Charles loves his son, whereas Mattie constantly belittles him. Ivy confides to Barbara that she is in love with her cousin, Little Charles, who plans to move to New York, and she cannot have children because she had a hysterectomy. She feels this is her only chance to finally marry.
The family sits down to dinner after the funeral, fueled by Violet's brutal "truth telling", which results in Barbara pouncing on her mother. She decides she has had enough of her mother's drug addiction and confiscates all her several kinds of pills. Later, after Violet has had a chance to sober up, she has a tender moment with her daughters and shares a story that demonstrates how cruel her own mother was when she longed for a new pair of cowgirl boots when she was in her early teens.
As Little Charles sings Ivy a song he has written for her, Mattie Fae walks in and berates him. This exhausts Charles's patience with his wife's lack of love and compassion for her son, and he threatens to leave her if she keeps it up. Mattie subsequently reveals to Barbara, who unintentionally listened in, that she had a long-ago affair with Beverly, and Charles is in fact their younger half-brother and that is the true reason why Ivy and "Little Charles" cannot be together.
That evening, Steve and Jean are playfully sharing a joint of marijuana. Johnna sees this and, sensing that he intends on molesting her, goes after him with a shovel. Barbara confronts Jean and slaps her. This impels Bill to take Jean back to Colorado, leaving Barbara. Karen also leaves with Steve.
Later, Ivy tries to tell her mother about her love for Little Charles. Barbara tries to deflect the admission. Violet tells Ivy Charles is actually her brother, something she knew all along. Ivy leaves and promises to never come back. In the last confrontation between Violet and Barbara, Violet admits she was contacted by Beverly from his motel the week after he had left home, but did nothing to help him until after she removed money from the couple's joint safe deposit box. By this time he had already drowned. This revelation leads Barbara to depart. Violet is left with only Johnna.
Barbara is driving through the plains, stops, gets out of the car, cries then gets back in the car and follows signage showing highways and number of miles to Wichita, Salina and Denver. | He drowns in the lake. |
Who is Violet's middle daughter? | movie | The title designates time and location: an unusually hot August in a rural area outside Pawhuska, Oklahoma. Beverly Weston (Sam Shepard), an alcoholic, once-noted poet, interviews and hires a young native American woman Johnna (Misty Upham) as a live-in cook and caregiver for his strong-willed and contentious wife Violet (Meryl Streep), who is suffering from oral cancer and addiction to narcotics. Shortly after this, he disappears from the house, and Violet calls her sister and daughters for support. Her sister Mattie Fae (Margo Martindale) arrives with husband Charles Aiken (Chris Cooper). Violet's middle daughter Ivy (Julianne Nicholson) is single and the only one living locally; Barbara (Julia Roberts), her oldest, who has inherited her mother's mean streak, arrives from Colorado with her husband Bill (Ewan McGregor) and 14-year-old daughter Jean (Abigail Breslin). Barbara and Bill are separated, but they put up a united front for Violet.
After five days, the sheriff arrives with the news that Beverly took his boat out on the lake and has drowned. Youngest daughter Karen (Juliette Lewis) arrives with the latest in a string of boyfriends, Steve Huberbrecht (Dermot Mulroney), a sleazy Florida businessman whom she introduces as her fiancĂŠ. Mattie Fae and Charles's shy, awkward son "Little Charles" (Benedict Cumberbatch) misses the funeral because he overslept and is met at the bus station by his father. Charles loves his son, whereas Mattie constantly belittles him. Ivy confides to Barbara that she is in love with her cousin, Little Charles, who plans to move to New York, and she cannot have children because she had a hysterectomy. She feels this is her only chance to finally marry.
The family sits down to dinner after the funeral, fueled by Violet's brutal "truth telling", which results in Barbara pouncing on her mother. She decides she has had enough of her mother's drug addiction and confiscates all her several kinds of pills. Later, after Violet has had a chance to sober up, she has a tender moment with her daughters and shares a story that demonstrates how cruel her own mother was when she longed for a new pair of cowgirl boots when she was in her early teens.
As Little Charles sings Ivy a song he has written for her, Mattie Fae walks in and berates him. This exhausts Charles's patience with his wife's lack of love and compassion for her son, and he threatens to leave her if she keeps it up. Mattie subsequently reveals to Barbara, who unintentionally listened in, that she had a long-ago affair with Beverly, and Charles is in fact their younger half-brother and that is the true reason why Ivy and "Little Charles" cannot be together.
That evening, Steve and Jean are playfully sharing a joint of marijuana. Johnna sees this and, sensing that he intends on molesting her, goes after him with a shovel. Barbara confronts Jean and slaps her. This impels Bill to take Jean back to Colorado, leaving Barbara. Karen also leaves with Steve.
Later, Ivy tries to tell her mother about her love for Little Charles. Barbara tries to deflect the admission. Violet tells Ivy Charles is actually her brother, something she knew all along. Ivy leaves and promises to never come back. In the last confrontation between Violet and Barbara, Violet admits she was contacted by Beverly from his motel the week after he had left home, but did nothing to help him until after she removed money from the couple's joint safe deposit box. By this time he had already drowned. This revelation leads Barbara to depart. Violet is left with only Johnna.
Barbara is driving through the plains, stops, gets out of the car, cries then gets back in the car and follows signage showing highways and number of miles to Wichita, Salina and Denver. | Ivy |
Why shouldn't Ivy be able to wed Little Charles? | movie | The title designates time and location: an unusually hot August in a rural area outside Pawhuska, Oklahoma. Beverly Weston (Sam Shepard), an alcoholic, once-noted poet, interviews and hires a young native American woman Johnna (Misty Upham) as a live-in cook and caregiver for his strong-willed and contentious wife Violet (Meryl Streep), who is suffering from oral cancer and addiction to narcotics. Shortly after this, he disappears from the house, and Violet calls her sister and daughters for support. Her sister Mattie Fae (Margo Martindale) arrives with husband Charles Aiken (Chris Cooper). Violet's middle daughter Ivy (Julianne Nicholson) is single and the only one living locally; Barbara (Julia Roberts), her oldest, who has inherited her mother's mean streak, arrives from Colorado with her husband Bill (Ewan McGregor) and 14-year-old daughter Jean (Abigail Breslin). Barbara and Bill are separated, but they put up a united front for Violet.
After five days, the sheriff arrives with the news that Beverly took his boat out on the lake and has drowned. Youngest daughter Karen (Juliette Lewis) arrives with the latest in a string of boyfriends, Steve Huberbrecht (Dermot Mulroney), a sleazy Florida businessman whom she introduces as her fiancĂŠ. Mattie Fae and Charles's shy, awkward son "Little Charles" (Benedict Cumberbatch) misses the funeral because he overslept and is met at the bus station by his father. Charles loves his son, whereas Mattie constantly belittles him. Ivy confides to Barbara that she is in love with her cousin, Little Charles, who plans to move to New York, and she cannot have children because she had a hysterectomy. She feels this is her only chance to finally marry.
The family sits down to dinner after the funeral, fueled by Violet's brutal "truth telling", which results in Barbara pouncing on her mother. She decides she has had enough of her mother's drug addiction and confiscates all her several kinds of pills. Later, after Violet has had a chance to sober up, she has a tender moment with her daughters and shares a story that demonstrates how cruel her own mother was when she longed for a new pair of cowgirl boots when she was in her early teens.
As Little Charles sings Ivy a song he has written for her, Mattie Fae walks in and berates him. This exhausts Charles's patience with his wife's lack of love and compassion for her son, and he threatens to leave her if she keeps it up. Mattie subsequently reveals to Barbara, who unintentionally listened in, that she had a long-ago affair with Beverly, and Charles is in fact their younger half-brother and that is the true reason why Ivy and "Little Charles" cannot be together.
That evening, Steve and Jean are playfully sharing a joint of marijuana. Johnna sees this and, sensing that he intends on molesting her, goes after him with a shovel. Barbara confronts Jean and slaps her. This impels Bill to take Jean back to Colorado, leaving Barbara. Karen also leaves with Steve.
Later, Ivy tries to tell her mother about her love for Little Charles. Barbara tries to deflect the admission. Violet tells Ivy Charles is actually her brother, something she knew all along. Ivy leaves and promises to never come back. In the last confrontation between Violet and Barbara, Violet admits she was contacted by Beverly from his motel the week after he had left home, but did nothing to help him until after she removed money from the couple's joint safe deposit box. By this time he had already drowned. This revelation leads Barbara to depart. Violet is left with only Johnna.
Barbara is driving through the plains, stops, gets out of the car, cries then gets back in the car and follows signage showing highways and number of miles to Wichita, Salina and Denver. | He is her half brother |
Where does Little Charles plan to move? | movie | The title designates time and location: an unusually hot August in a rural area outside Pawhuska, Oklahoma. Beverly Weston (Sam Shepard), an alcoholic, once-noted poet, interviews and hires a young native American woman Johnna (Misty Upham) as a live-in cook and caregiver for his strong-willed and contentious wife Violet (Meryl Streep), who is suffering from oral cancer and addiction to narcotics. Shortly after this, he disappears from the house, and Violet calls her sister and daughters for support. Her sister Mattie Fae (Margo Martindale) arrives with husband Charles Aiken (Chris Cooper). Violet's middle daughter Ivy (Julianne Nicholson) is single and the only one living locally; Barbara (Julia Roberts), her oldest, who has inherited her mother's mean streak, arrives from Colorado with her husband Bill (Ewan McGregor) and 14-year-old daughter Jean (Abigail Breslin). Barbara and Bill are separated, but they put up a united front for Violet.
After five days, the sheriff arrives with the news that Beverly took his boat out on the lake and has drowned. Youngest daughter Karen (Juliette Lewis) arrives with the latest in a string of boyfriends, Steve Huberbrecht (Dermot Mulroney), a sleazy Florida businessman whom she introduces as her fiancĂŠ. Mattie Fae and Charles's shy, awkward son "Little Charles" (Benedict Cumberbatch) misses the funeral because he overslept and is met at the bus station by his father. Charles loves his son, whereas Mattie constantly belittles him. Ivy confides to Barbara that she is in love with her cousin, Little Charles, who plans to move to New York, and she cannot have children because she had a hysterectomy. She feels this is her only chance to finally marry.
The family sits down to dinner after the funeral, fueled by Violet's brutal "truth telling", which results in Barbara pouncing on her mother. She decides she has had enough of her mother's drug addiction and confiscates all her several kinds of pills. Later, after Violet has had a chance to sober up, she has a tender moment with her daughters and shares a story that demonstrates how cruel her own mother was when she longed for a new pair of cowgirl boots when she was in her early teens.
As Little Charles sings Ivy a song he has written for her, Mattie Fae walks in and berates him. This exhausts Charles's patience with his wife's lack of love and compassion for her son, and he threatens to leave her if she keeps it up. Mattie subsequently reveals to Barbara, who unintentionally listened in, that she had a long-ago affair with Beverly, and Charles is in fact their younger half-brother and that is the true reason why Ivy and "Little Charles" cannot be together.
That evening, Steve and Jean are playfully sharing a joint of marijuana. Johnna sees this and, sensing that he intends on molesting her, goes after him with a shovel. Barbara confronts Jean and slaps her. This impels Bill to take Jean back to Colorado, leaving Barbara. Karen also leaves with Steve.
Later, Ivy tries to tell her mother about her love for Little Charles. Barbara tries to deflect the admission. Violet tells Ivy Charles is actually her brother, something she knew all along. Ivy leaves and promises to never come back. In the last confrontation between Violet and Barbara, Violet admits she was contacted by Beverly from his motel the week after he had left home, but did nothing to help him until after she removed money from the couple's joint safe deposit box. By this time he had already drowned. This revelation leads Barbara to depart. Violet is left with only Johnna.
Barbara is driving through the plains, stops, gets out of the car, cries then gets back in the car and follows signage showing highways and number of miles to Wichita, Salina and Denver. | New York |
What is the name of the young native american woman that Beverly hires? | movie | The title designates time and location: an unusually hot August in a rural area outside Pawhuska, Oklahoma. Beverly Weston (Sam Shepard), an alcoholic, once-noted poet, interviews and hires a young native American woman Johnna (Misty Upham) as a live-in cook and caregiver for his strong-willed and contentious wife Violet (Meryl Streep), who is suffering from oral cancer and addiction to narcotics. Shortly after this, he disappears from the house, and Violet calls her sister and daughters for support. Her sister Mattie Fae (Margo Martindale) arrives with husband Charles Aiken (Chris Cooper). Violet's middle daughter Ivy (Julianne Nicholson) is single and the only one living locally; Barbara (Julia Roberts), her oldest, who has inherited her mother's mean streak, arrives from Colorado with her husband Bill (Ewan McGregor) and 14-year-old daughter Jean (Abigail Breslin). Barbara and Bill are separated, but they put up a united front for Violet.
After five days, the sheriff arrives with the news that Beverly took his boat out on the lake and has drowned. Youngest daughter Karen (Juliette Lewis) arrives with the latest in a string of boyfriends, Steve Huberbrecht (Dermot Mulroney), a sleazy Florida businessman whom she introduces as her fiancĂŠ. Mattie Fae and Charles's shy, awkward son "Little Charles" (Benedict Cumberbatch) misses the funeral because he overslept and is met at the bus station by his father. Charles loves his son, whereas Mattie constantly belittles him. Ivy confides to Barbara that she is in love with her cousin, Little Charles, who plans to move to New York, and she cannot have children because she had a hysterectomy. She feels this is her only chance to finally marry.
The family sits down to dinner after the funeral, fueled by Violet's brutal "truth telling", which results in Barbara pouncing on her mother. She decides she has had enough of her mother's drug addiction and confiscates all her several kinds of pills. Later, after Violet has had a chance to sober up, she has a tender moment with her daughters and shares a story that demonstrates how cruel her own mother was when she longed for a new pair of cowgirl boots when she was in her early teens.
As Little Charles sings Ivy a song he has written for her, Mattie Fae walks in and berates him. This exhausts Charles's patience with his wife's lack of love and compassion for her son, and he threatens to leave her if she keeps it up. Mattie subsequently reveals to Barbara, who unintentionally listened in, that she had a long-ago affair with Beverly, and Charles is in fact their younger half-brother and that is the true reason why Ivy and "Little Charles" cannot be together.
That evening, Steve and Jean are playfully sharing a joint of marijuana. Johnna sees this and, sensing that he intends on molesting her, goes after him with a shovel. Barbara confronts Jean and slaps her. This impels Bill to take Jean back to Colorado, leaving Barbara. Karen also leaves with Steve.
Later, Ivy tries to tell her mother about her love for Little Charles. Barbara tries to deflect the admission. Violet tells Ivy Charles is actually her brother, something she knew all along. Ivy leaves and promises to never come back. In the last confrontation between Violet and Barbara, Violet admits she was contacted by Beverly from his motel the week after he had left home, but did nothing to help him until after she removed money from the couple's joint safe deposit box. By this time he had already drowned. This revelation leads Barbara to depart. Violet is left with only Johnna.
Barbara is driving through the plains, stops, gets out of the car, cries then gets back in the car and follows signage showing highways and number of miles to Wichita, Salina and Denver. | Johnna |
What kind of cancer is Violet suffering from? | movie | The title designates time and location: an unusually hot August in a rural area outside Pawhuska, Oklahoma. Beverly Weston (Sam Shepard), an alcoholic, once-noted poet, interviews and hires a young native American woman Johnna (Misty Upham) as a live-in cook and caregiver for his strong-willed and contentious wife Violet (Meryl Streep), who is suffering from oral cancer and addiction to narcotics. Shortly after this, he disappears from the house, and Violet calls her sister and daughters for support. Her sister Mattie Fae (Margo Martindale) arrives with husband Charles Aiken (Chris Cooper). Violet's middle daughter Ivy (Julianne Nicholson) is single and the only one living locally; Barbara (Julia Roberts), her oldest, who has inherited her mother's mean streak, arrives from Colorado with her husband Bill (Ewan McGregor) and 14-year-old daughter Jean (Abigail Breslin). Barbara and Bill are separated, but they put up a united front for Violet.
After five days, the sheriff arrives with the news that Beverly took his boat out on the lake and has drowned. Youngest daughter Karen (Juliette Lewis) arrives with the latest in a string of boyfriends, Steve Huberbrecht (Dermot Mulroney), a sleazy Florida businessman whom she introduces as her fiancĂŠ. Mattie Fae and Charles's shy, awkward son "Little Charles" (Benedict Cumberbatch) misses the funeral because he overslept and is met at the bus station by his father. Charles loves his son, whereas Mattie constantly belittles him. Ivy confides to Barbara that she is in love with her cousin, Little Charles, who plans to move to New York, and she cannot have children because she had a hysterectomy. She feels this is her only chance to finally marry.
The family sits down to dinner after the funeral, fueled by Violet's brutal "truth telling", which results in Barbara pouncing on her mother. She decides she has had enough of her mother's drug addiction and confiscates all her several kinds of pills. Later, after Violet has had a chance to sober up, she has a tender moment with her daughters and shares a story that demonstrates how cruel her own mother was when she longed for a new pair of cowgirl boots when she was in her early teens.
As Little Charles sings Ivy a song he has written for her, Mattie Fae walks in and berates him. This exhausts Charles's patience with his wife's lack of love and compassion for her son, and he threatens to leave her if she keeps it up. Mattie subsequently reveals to Barbara, who unintentionally listened in, that she had a long-ago affair with Beverly, and Charles is in fact their younger half-brother and that is the true reason why Ivy and "Little Charles" cannot be together.
That evening, Steve and Jean are playfully sharing a joint of marijuana. Johnna sees this and, sensing that he intends on molesting her, goes after him with a shovel. Barbara confronts Jean and slaps her. This impels Bill to take Jean back to Colorado, leaving Barbara. Karen also leaves with Steve.
Later, Ivy tries to tell her mother about her love for Little Charles. Barbara tries to deflect the admission. Violet tells Ivy Charles is actually her brother, something she knew all along. Ivy leaves and promises to never come back. In the last confrontation between Violet and Barbara, Violet admits she was contacted by Beverly from his motel the week after he had left home, but did nothing to help him until after she removed money from the couple's joint safe deposit box. By this time he had already drowned. This revelation leads Barbara to depart. Violet is left with only Johnna.
Barbara is driving through the plains, stops, gets out of the car, cries then gets back in the car and follows signage showing highways and number of miles to Wichita, Salina and Denver. | Mouth cancer |
Who does Little Charles write a song for? | movie | The title designates time and location: an unusually hot August in a rural area outside Pawhuska, Oklahoma. Beverly Weston (Sam Shepard), an alcoholic, once-noted poet, interviews and hires a young native American woman Johnna (Misty Upham) as a live-in cook and caregiver for his strong-willed and contentious wife Violet (Meryl Streep), who is suffering from oral cancer and addiction to narcotics. Shortly after this, he disappears from the house, and Violet calls her sister and daughters for support. Her sister Mattie Fae (Margo Martindale) arrives with husband Charles Aiken (Chris Cooper). Violet's middle daughter Ivy (Julianne Nicholson) is single and the only one living locally; Barbara (Julia Roberts), her oldest, who has inherited her mother's mean streak, arrives from Colorado with her husband Bill (Ewan McGregor) and 14-year-old daughter Jean (Abigail Breslin). Barbara and Bill are separated, but they put up a united front for Violet.
After five days, the sheriff arrives with the news that Beverly took his boat out on the lake and has drowned. Youngest daughter Karen (Juliette Lewis) arrives with the latest in a string of boyfriends, Steve Huberbrecht (Dermot Mulroney), a sleazy Florida businessman whom she introduces as her fiancĂŠ. Mattie Fae and Charles's shy, awkward son "Little Charles" (Benedict Cumberbatch) misses the funeral because he overslept and is met at the bus station by his father. Charles loves his son, whereas Mattie constantly belittles him. Ivy confides to Barbara that she is in love with her cousin, Little Charles, who plans to move to New York, and she cannot have children because she had a hysterectomy. She feels this is her only chance to finally marry.
The family sits down to dinner after the funeral, fueled by Violet's brutal "truth telling", which results in Barbara pouncing on her mother. She decides she has had enough of her mother's drug addiction and confiscates all her several kinds of pills. Later, after Violet has had a chance to sober up, she has a tender moment with her daughters and shares a story that demonstrates how cruel her own mother was when she longed for a new pair of cowgirl boots when she was in her early teens.
As Little Charles sings Ivy a song he has written for her, Mattie Fae walks in and berates him. This exhausts Charles's patience with his wife's lack of love and compassion for her son, and he threatens to leave her if she keeps it up. Mattie subsequently reveals to Barbara, who unintentionally listened in, that she had a long-ago affair with Beverly, and Charles is in fact their younger half-brother and that is the true reason why Ivy and "Little Charles" cannot be together.
That evening, Steve and Jean are playfully sharing a joint of marijuana. Johnna sees this and, sensing that he intends on molesting her, goes after him with a shovel. Barbara confronts Jean and slaps her. This impels Bill to take Jean back to Colorado, leaving Barbara. Karen also leaves with Steve.
Later, Ivy tries to tell her mother about her love for Little Charles. Barbara tries to deflect the admission. Violet tells Ivy Charles is actually her brother, something she knew all along. Ivy leaves and promises to never come back. In the last confrontation between Violet and Barbara, Violet admits she was contacted by Beverly from his motel the week after he had left home, but did nothing to help him until after she removed money from the couple's joint safe deposit box. By this time he had already drowned. This revelation leads Barbara to depart. Violet is left with only Johnna.
Barbara is driving through the plains, stops, gets out of the car, cries then gets back in the car and follows signage showing highways and number of miles to Wichita, Salina and Denver. | Ivy |
Why did Little Charles miss Beverly's funeral? | movie | The title designates time and location: an unusually hot August in a rural area outside Pawhuska, Oklahoma. Beverly Weston (Sam Shepard), an alcoholic, once-noted poet, interviews and hires a young native American woman Johnna (Misty Upham) as a live-in cook and caregiver for his strong-willed and contentious wife Violet (Meryl Streep), who is suffering from oral cancer and addiction to narcotics. Shortly after this, he disappears from the house, and Violet calls her sister and daughters for support. Her sister Mattie Fae (Margo Martindale) arrives with husband Charles Aiken (Chris Cooper). Violet's middle daughter Ivy (Julianne Nicholson) is single and the only one living locally; Barbara (Julia Roberts), her oldest, who has inherited her mother's mean streak, arrives from Colorado with her husband Bill (Ewan McGregor) and 14-year-old daughter Jean (Abigail Breslin). Barbara and Bill are separated, but they put up a united front for Violet.
After five days, the sheriff arrives with the news that Beverly took his boat out on the lake and has drowned. Youngest daughter Karen (Juliette Lewis) arrives with the latest in a string of boyfriends, Steve Huberbrecht (Dermot Mulroney), a sleazy Florida businessman whom she introduces as her fiancĂŠ. Mattie Fae and Charles's shy, awkward son "Little Charles" (Benedict Cumberbatch) misses the funeral because he overslept and is met at the bus station by his father. Charles loves his son, whereas Mattie constantly belittles him. Ivy confides to Barbara that she is in love with her cousin, Little Charles, who plans to move to New York, and she cannot have children because she had a hysterectomy. She feels this is her only chance to finally marry.
The family sits down to dinner after the funeral, fueled by Violet's brutal "truth telling", which results in Barbara pouncing on her mother. She decides she has had enough of her mother's drug addiction and confiscates all her several kinds of pills. Later, after Violet has had a chance to sober up, she has a tender moment with her daughters and shares a story that demonstrates how cruel her own mother was when she longed for a new pair of cowgirl boots when she was in her early teens.
As Little Charles sings Ivy a song he has written for her, Mattie Fae walks in and berates him. This exhausts Charles's patience with his wife's lack of love and compassion for her son, and he threatens to leave her if she keeps it up. Mattie subsequently reveals to Barbara, who unintentionally listened in, that she had a long-ago affair with Beverly, and Charles is in fact their younger half-brother and that is the true reason why Ivy and "Little Charles" cannot be together.
That evening, Steve and Jean are playfully sharing a joint of marijuana. Johnna sees this and, sensing that he intends on molesting her, goes after him with a shovel. Barbara confronts Jean and slaps her. This impels Bill to take Jean back to Colorado, leaving Barbara. Karen also leaves with Steve.
Later, Ivy tries to tell her mother about her love for Little Charles. Barbara tries to deflect the admission. Violet tells Ivy Charles is actually her brother, something she knew all along. Ivy leaves and promises to never come back. In the last confrontation between Violet and Barbara, Violet admits she was contacted by Beverly from his motel the week after he had left home, but did nothing to help him until after she removed money from the couple's joint safe deposit box. By this time he had already drowned. This revelation leads Barbara to depart. Violet is left with only Johnna.
Barbara is driving through the plains, stops, gets out of the car, cries then gets back in the car and follows signage showing highways and number of miles to Wichita, Salina and Denver. | He overslept |
How did Beverly Weston die? | movie | The title designates time and location: an unusually hot August in a rural area outside Pawhuska, Oklahoma. Beverly Weston (Sam Shepard), an alcoholic, once-noted poet, interviews and hires a young native American woman Johnna (Misty Upham) as a live-in cook and caregiver for his strong-willed and contentious wife Violet (Meryl Streep), who is suffering from oral cancer and addiction to narcotics. Shortly after this, he disappears from the house, and Violet calls her sister and daughters for support. Her sister Mattie Fae (Margo Martindale) arrives with husband Charles Aiken (Chris Cooper). Violet's middle daughter Ivy (Julianne Nicholson) is single and the only one living locally; Barbara (Julia Roberts), her oldest, who has inherited her mother's mean streak, arrives from Colorado with her husband Bill (Ewan McGregor) and 14-year-old daughter Jean (Abigail Breslin). Barbara and Bill are separated, but they put up a united front for Violet.
After five days, the sheriff arrives with the news that Beverly took his boat out on the lake and has drowned. Youngest daughter Karen (Juliette Lewis) arrives with the latest in a string of boyfriends, Steve Huberbrecht (Dermot Mulroney), a sleazy Florida businessman whom she introduces as her fiancĂŠ. Mattie Fae and Charles's shy, awkward son "Little Charles" (Benedict Cumberbatch) misses the funeral because he overslept and is met at the bus station by his father. Charles loves his son, whereas Mattie constantly belittles him. Ivy confides to Barbara that she is in love with her cousin, Little Charles, who plans to move to New York, and she cannot have children because she had a hysterectomy. She feels this is her only chance to finally marry.
The family sits down to dinner after the funeral, fueled by Violet's brutal "truth telling", which results in Barbara pouncing on her mother. She decides she has had enough of her mother's drug addiction and confiscates all her several kinds of pills. Later, after Violet has had a chance to sober up, she has a tender moment with her daughters and shares a story that demonstrates how cruel her own mother was when she longed for a new pair of cowgirl boots when she was in her early teens.
As Little Charles sings Ivy a song he has written for her, Mattie Fae walks in and berates him. This exhausts Charles's patience with his wife's lack of love and compassion for her son, and he threatens to leave her if she keeps it up. Mattie subsequently reveals to Barbara, who unintentionally listened in, that she had a long-ago affair with Beverly, and Charles is in fact their younger half-brother and that is the true reason why Ivy and "Little Charles" cannot be together.
That evening, Steve and Jean are playfully sharing a joint of marijuana. Johnna sees this and, sensing that he intends on molesting her, goes after him with a shovel. Barbara confronts Jean and slaps her. This impels Bill to take Jean back to Colorado, leaving Barbara. Karen also leaves with Steve.
Later, Ivy tries to tell her mother about her love for Little Charles. Barbara tries to deflect the admission. Violet tells Ivy Charles is actually her brother, something she knew all along. Ivy leaves and promises to never come back. In the last confrontation between Violet and Barbara, Violet admits she was contacted by Beverly from his motel the week after he had left home, but did nothing to help him until after she removed money from the couple's joint safe deposit box. By this time he had already drowned. This revelation leads Barbara to depart. Violet is left with only Johnna.
Barbara is driving through the plains, stops, gets out of the car, cries then gets back in the car and follows signage showing highways and number of miles to Wichita, Salina and Denver. | He drowned |
Which of Violet's daughters inherited her mean streak? | movie | The title designates time and location: an unusually hot August in a rural area outside Pawhuska, Oklahoma. Beverly Weston (Sam Shepard), an alcoholic, once-noted poet, interviews and hires a young native American woman Johnna (Misty Upham) as a live-in cook and caregiver for his strong-willed and contentious wife Violet (Meryl Streep), who is suffering from oral cancer and addiction to narcotics. Shortly after this, he disappears from the house, and Violet calls her sister and daughters for support. Her sister Mattie Fae (Margo Martindale) arrives with husband Charles Aiken (Chris Cooper). Violet's middle daughter Ivy (Julianne Nicholson) is single and the only one living locally; Barbara (Julia Roberts), her oldest, who has inherited her mother's mean streak, arrives from Colorado with her husband Bill (Ewan McGregor) and 14-year-old daughter Jean (Abigail Breslin). Barbara and Bill are separated, but they put up a united front for Violet.
After five days, the sheriff arrives with the news that Beverly took his boat out on the lake and has drowned. Youngest daughter Karen (Juliette Lewis) arrives with the latest in a string of boyfriends, Steve Huberbrecht (Dermot Mulroney), a sleazy Florida businessman whom she introduces as her fiancĂŠ. Mattie Fae and Charles's shy, awkward son "Little Charles" (Benedict Cumberbatch) misses the funeral because he overslept and is met at the bus station by his father. Charles loves his son, whereas Mattie constantly belittles him. Ivy confides to Barbara that she is in love with her cousin, Little Charles, who plans to move to New York, and she cannot have children because she had a hysterectomy. She feels this is her only chance to finally marry.
The family sits down to dinner after the funeral, fueled by Violet's brutal "truth telling", which results in Barbara pouncing on her mother. She decides she has had enough of her mother's drug addiction and confiscates all her several kinds of pills. Later, after Violet has had a chance to sober up, she has a tender moment with her daughters and shares a story that demonstrates how cruel her own mother was when she longed for a new pair of cowgirl boots when she was in her early teens.
As Little Charles sings Ivy a song he has written for her, Mattie Fae walks in and berates him. This exhausts Charles's patience with his wife's lack of love and compassion for her son, and he threatens to leave her if she keeps it up. Mattie subsequently reveals to Barbara, who unintentionally listened in, that she had a long-ago affair with Beverly, and Charles is in fact their younger half-brother and that is the true reason why Ivy and "Little Charles" cannot be together.
That evening, Steve and Jean are playfully sharing a joint of marijuana. Johnna sees this and, sensing that he intends on molesting her, goes after him with a shovel. Barbara confronts Jean and slaps her. This impels Bill to take Jean back to Colorado, leaving Barbara. Karen also leaves with Steve.
Later, Ivy tries to tell her mother about her love for Little Charles. Barbara tries to deflect the admission. Violet tells Ivy Charles is actually her brother, something she knew all along. Ivy leaves and promises to never come back. In the last confrontation between Violet and Barbara, Violet admits she was contacted by Beverly from his motel the week after he had left home, but did nothing to help him until after she removed money from the couple's joint safe deposit box. By this time he had already drowned. This revelation leads Barbara to depart. Violet is left with only Johnna.
Barbara is driving through the plains, stops, gets out of the car, cries then gets back in the car and follows signage showing highways and number of miles to Wichita, Salina and Denver. | Barbara |
What is Barbara and Bill's daughter's name? | movie | The title designates time and location: an unusually hot August in a rural area outside Pawhuska, Oklahoma. Beverly Weston (Sam Shepard), an alcoholic, once-noted poet, interviews and hires a young native American woman Johnna (Misty Upham) as a live-in cook and caregiver for his strong-willed and contentious wife Violet (Meryl Streep), who is suffering from oral cancer and addiction to narcotics. Shortly after this, he disappears from the house, and Violet calls her sister and daughters for support. Her sister Mattie Fae (Margo Martindale) arrives with husband Charles Aiken (Chris Cooper). Violet's middle daughter Ivy (Julianne Nicholson) is single and the only one living locally; Barbara (Julia Roberts), her oldest, who has inherited her mother's mean streak, arrives from Colorado with her husband Bill (Ewan McGregor) and 14-year-old daughter Jean (Abigail Breslin). Barbara and Bill are separated, but they put up a united front for Violet.
After five days, the sheriff arrives with the news that Beverly took his boat out on the lake and has drowned. Youngest daughter Karen (Juliette Lewis) arrives with the latest in a string of boyfriends, Steve Huberbrecht (Dermot Mulroney), a sleazy Florida businessman whom she introduces as her fiancĂŠ. Mattie Fae and Charles's shy, awkward son "Little Charles" (Benedict Cumberbatch) misses the funeral because he overslept and is met at the bus station by his father. Charles loves his son, whereas Mattie constantly belittles him. Ivy confides to Barbara that she is in love with her cousin, Little Charles, who plans to move to New York, and she cannot have children because she had a hysterectomy. She feels this is her only chance to finally marry.
The family sits down to dinner after the funeral, fueled by Violet's brutal "truth telling", which results in Barbara pouncing on her mother. She decides she has had enough of her mother's drug addiction and confiscates all her several kinds of pills. Later, after Violet has had a chance to sober up, she has a tender moment with her daughters and shares a story that demonstrates how cruel her own mother was when she longed for a new pair of cowgirl boots when she was in her early teens.
As Little Charles sings Ivy a song he has written for her, Mattie Fae walks in and berates him. This exhausts Charles's patience with his wife's lack of love and compassion for her son, and he threatens to leave her if she keeps it up. Mattie subsequently reveals to Barbara, who unintentionally listened in, that she had a long-ago affair with Beverly, and Charles is in fact their younger half-brother and that is the true reason why Ivy and "Little Charles" cannot be together.
That evening, Steve and Jean are playfully sharing a joint of marijuana. Johnna sees this and, sensing that he intends on molesting her, goes after him with a shovel. Barbara confronts Jean and slaps her. This impels Bill to take Jean back to Colorado, leaving Barbara. Karen also leaves with Steve.
Later, Ivy tries to tell her mother about her love for Little Charles. Barbara tries to deflect the admission. Violet tells Ivy Charles is actually her brother, something she knew all along. Ivy leaves and promises to never come back. In the last confrontation between Violet and Barbara, Violet admits she was contacted by Beverly from his motel the week after he had left home, but did nothing to help him until after she removed money from the couple's joint safe deposit box. By this time he had already drowned. This revelation leads Barbara to depart. Violet is left with only Johnna.
Barbara is driving through the plains, stops, gets out of the car, cries then gets back in the car and follows signage showing highways and number of miles to Wichita, Salina and Denver. | Jean |
What gets jammed in the printer? | movie | Sam Lowry (Jonathan Pryce) is a low-level government employee who frequently daydreams of saving a damsel in distress. When a fly gets jammed in a printer and results in the incarceration and accidental death during interrogation of cobbler Archibald Buttle â instead of renegade air conditioning specialist and suspected terrorist Archibald Tuttle â Sam is assigned the task of rectifying the error. Visiting Buttle's widow, Sam encounters their neighbour Jill Layton (Kim Greist), and is astonished to see that she resembles the woman from his recurring dreams. Jill is trying to help Mrs. Buttle determine what happened to her husband, but her efforts are obstructed by bureaucracy. Unknown to her, she is now considered a terrorist accomplice of Tuttle for attempting to report the mistake of Buttle's arrest to a government which would rather dispose of all evidence and witnesses than admit its error. Sam approaches Jill, but she avoids giving him full details, worried the government will track her down.
During this time, Sam comes in contact with Tuttle (Robert De Niro), who once worked for Central Services but left due to his dislike of the tedious and repetitive paperwork. Tuttle helps Sam deal with two Central Services workers, Spoor (Bob Hoskins) and Dowser (Derrick O'Connor), who later return to demolish Sam's ducts and seize his apartment under the guise of fixing the air conditioning. Sam discovers that the only way to learn about Jill is to get transferred to Information Retrieval, where he can access her classified records. He had previously turned down a promotion arranged by his mother, Ida (Katherine Helmond), who is obsessed with the rejuvenating plastic surgery of cosmetic surgeon Dr. Jaffe (Jim Broadbent). Sam retracts his refusal by speaking with Deputy Minister Mr. Helpmann (Peter Vaughan) at a party hosted by Ida. Obtaining Jill's records, Sam tracks her down before she can be arrested, then falsifies the records to fake her death, allowing her to escape pursuit. The two share a romantic night together, but are soon apprehended by the government at gunpoint. Charged with treason for abusing his new position, Sam is restrained to a chair in a large, empty cylindrical room (the interior of a power station cooling tower), to be tortured by his old friend, Jack Lint (Michael Palin). Sam learns that Jill was killed while resisting arrest.
When Jack is about to start the torturing, Tuttle and other members of the resistance break into the Ministry, shooting Jack, rescuing Sam, and blowing up the Ministry building. Sam and Tuttle flee together, but Tuttle disappears amid a mass of scraps of paperwork from the destroyed building. Sam stumbles into the funeral for Ida's friend, who died following excessive cosmetic surgery; finding Ida resembling Jill and being fawned over by young men, Sam falls into the open casket and through a black void. He lands in a street from his daydreams, and attempts to escape police and monsters by climbing a pile of flex-ducts. Opening a door, he passes through it and is surprised to find himself in a trailer driven by Jill. The two leave the city together. However, this "happy ending" is a product of Sam's delusions: he is still strapped to the chair. Realising that Sam has descended into blissful insanity, Jack and Mr. Helpmann declare him a lost cause and leave the room. Sam remains in the chair, smiling and singing "Brazil". | A fly |
Who accidentally dies during the interrogation? | movie | Sam Lowry (Jonathan Pryce) is a low-level government employee who frequently daydreams of saving a damsel in distress. When a fly gets jammed in a printer and results in the incarceration and accidental death during interrogation of cobbler Archibald Buttle â instead of renegade air conditioning specialist and suspected terrorist Archibald Tuttle â Sam is assigned the task of rectifying the error. Visiting Buttle's widow, Sam encounters their neighbour Jill Layton (Kim Greist), and is astonished to see that she resembles the woman from his recurring dreams. Jill is trying to help Mrs. Buttle determine what happened to her husband, but her efforts are obstructed by bureaucracy. Unknown to her, she is now considered a terrorist accomplice of Tuttle for attempting to report the mistake of Buttle's arrest to a government which would rather dispose of all evidence and witnesses than admit its error. Sam approaches Jill, but she avoids giving him full details, worried the government will track her down.
During this time, Sam comes in contact with Tuttle (Robert De Niro), who once worked for Central Services but left due to his dislike of the tedious and repetitive paperwork. Tuttle helps Sam deal with two Central Services workers, Spoor (Bob Hoskins) and Dowser (Derrick O'Connor), who later return to demolish Sam's ducts and seize his apartment under the guise of fixing the air conditioning. Sam discovers that the only way to learn about Jill is to get transferred to Information Retrieval, where he can access her classified records. He had previously turned down a promotion arranged by his mother, Ida (Katherine Helmond), who is obsessed with the rejuvenating plastic surgery of cosmetic surgeon Dr. Jaffe (Jim Broadbent). Sam retracts his refusal by speaking with Deputy Minister Mr. Helpmann (Peter Vaughan) at a party hosted by Ida. Obtaining Jill's records, Sam tracks her down before she can be arrested, then falsifies the records to fake her death, allowing her to escape pursuit. The two share a romantic night together, but are soon apprehended by the government at gunpoint. Charged with treason for abusing his new position, Sam is restrained to a chair in a large, empty cylindrical room (the interior of a power station cooling tower), to be tortured by his old friend, Jack Lint (Michael Palin). Sam learns that Jill was killed while resisting arrest.
When Jack is about to start the torturing, Tuttle and other members of the resistance break into the Ministry, shooting Jack, rescuing Sam, and blowing up the Ministry building. Sam and Tuttle flee together, but Tuttle disappears amid a mass of scraps of paperwork from the destroyed building. Sam stumbles into the funeral for Ida's friend, who died following excessive cosmetic surgery; finding Ida resembling Jill and being fawned over by young men, Sam falls into the open casket and through a black void. He lands in a street from his daydreams, and attempts to escape police and monsters by climbing a pile of flex-ducts. Opening a door, he passes through it and is surprised to find himself in a trailer driven by Jill. The two leave the city together. However, this "happy ending" is a product of Sam's delusions: he is still strapped to the chair. Realising that Sam has descended into blissful insanity, Jack and Mr. Helpmann declare him a lost cause and leave the room. Sam remains in the chair, smiling and singing "Brazil". | Archibald Buttle |
Who was Archibald Tuttle? | movie | Sam Lowry (Jonathan Pryce) is a low-level government employee who frequently daydreams of saving a damsel in distress. When a fly gets jammed in a printer and results in the incarceration and accidental death during interrogation of cobbler Archibald Buttle â instead of renegade air conditioning specialist and suspected terrorist Archibald Tuttle â Sam is assigned the task of rectifying the error. Visiting Buttle's widow, Sam encounters their neighbour Jill Layton (Kim Greist), and is astonished to see that she resembles the woman from his recurring dreams. Jill is trying to help Mrs. Buttle determine what happened to her husband, but her efforts are obstructed by bureaucracy. Unknown to her, she is now considered a terrorist accomplice of Tuttle for attempting to report the mistake of Buttle's arrest to a government which would rather dispose of all evidence and witnesses than admit its error. Sam approaches Jill, but she avoids giving him full details, worried the government will track her down.
During this time, Sam comes in contact with Tuttle (Robert De Niro), who once worked for Central Services but left due to his dislike of the tedious and repetitive paperwork. Tuttle helps Sam deal with two Central Services workers, Spoor (Bob Hoskins) and Dowser (Derrick O'Connor), who later return to demolish Sam's ducts and seize his apartment under the guise of fixing the air conditioning. Sam discovers that the only way to learn about Jill is to get transferred to Information Retrieval, where he can access her classified records. He had previously turned down a promotion arranged by his mother, Ida (Katherine Helmond), who is obsessed with the rejuvenating plastic surgery of cosmetic surgeon Dr. Jaffe (Jim Broadbent). Sam retracts his refusal by speaking with Deputy Minister Mr. Helpmann (Peter Vaughan) at a party hosted by Ida. Obtaining Jill's records, Sam tracks her down before she can be arrested, then falsifies the records to fake her death, allowing her to escape pursuit. The two share a romantic night together, but are soon apprehended by the government at gunpoint. Charged with treason for abusing his new position, Sam is restrained to a chair in a large, empty cylindrical room (the interior of a power station cooling tower), to be tortured by his old friend, Jack Lint (Michael Palin). Sam learns that Jill was killed while resisting arrest.
When Jack is about to start the torturing, Tuttle and other members of the resistance break into the Ministry, shooting Jack, rescuing Sam, and blowing up the Ministry building. Sam and Tuttle flee together, but Tuttle disappears amid a mass of scraps of paperwork from the destroyed building. Sam stumbles into the funeral for Ida's friend, who died following excessive cosmetic surgery; finding Ida resembling Jill and being fawned over by young men, Sam falls into the open casket and through a black void. He lands in a street from his daydreams, and attempts to escape police and monsters by climbing a pile of flex-ducts. Opening a door, he passes through it and is surprised to find himself in a trailer driven by Jill. The two leave the city together. However, this "happy ending" is a product of Sam's delusions: he is still strapped to the chair. Realising that Sam has descended into blissful insanity, Jack and Mr. Helpmann declare him a lost cause and leave the room. Sam remains in the chair, smiling and singing "Brazil". | A suspected terrorist |
Who does Jill Layton resemble? | movie | Sam Lowry (Jonathan Pryce) is a low-level government employee who frequently daydreams of saving a damsel in distress. When a fly gets jammed in a printer and results in the incarceration and accidental death during interrogation of cobbler Archibald Buttle â instead of renegade air conditioning specialist and suspected terrorist Archibald Tuttle â Sam is assigned the task of rectifying the error. Visiting Buttle's widow, Sam encounters their neighbour Jill Layton (Kim Greist), and is astonished to see that she resembles the woman from his recurring dreams. Jill is trying to help Mrs. Buttle determine what happened to her husband, but her efforts are obstructed by bureaucracy. Unknown to her, she is now considered a terrorist accomplice of Tuttle for attempting to report the mistake of Buttle's arrest to a government which would rather dispose of all evidence and witnesses than admit its error. Sam approaches Jill, but she avoids giving him full details, worried the government will track her down.
During this time, Sam comes in contact with Tuttle (Robert De Niro), who once worked for Central Services but left due to his dislike of the tedious and repetitive paperwork. Tuttle helps Sam deal with two Central Services workers, Spoor (Bob Hoskins) and Dowser (Derrick O'Connor), who later return to demolish Sam's ducts and seize his apartment under the guise of fixing the air conditioning. Sam discovers that the only way to learn about Jill is to get transferred to Information Retrieval, where he can access her classified records. He had previously turned down a promotion arranged by his mother, Ida (Katherine Helmond), who is obsessed with the rejuvenating plastic surgery of cosmetic surgeon Dr. Jaffe (Jim Broadbent). Sam retracts his refusal by speaking with Deputy Minister Mr. Helpmann (Peter Vaughan) at a party hosted by Ida. Obtaining Jill's records, Sam tracks her down before she can be arrested, then falsifies the records to fake her death, allowing her to escape pursuit. The two share a romantic night together, but are soon apprehended by the government at gunpoint. Charged with treason for abusing his new position, Sam is restrained to a chair in a large, empty cylindrical room (the interior of a power station cooling tower), to be tortured by his old friend, Jack Lint (Michael Palin). Sam learns that Jill was killed while resisting arrest.
When Jack is about to start the torturing, Tuttle and other members of the resistance break into the Ministry, shooting Jack, rescuing Sam, and blowing up the Ministry building. Sam and Tuttle flee together, but Tuttle disappears amid a mass of scraps of paperwork from the destroyed building. Sam stumbles into the funeral for Ida's friend, who died following excessive cosmetic surgery; finding Ida resembling Jill and being fawned over by young men, Sam falls into the open casket and through a black void. He lands in a street from his daydreams, and attempts to escape police and monsters by climbing a pile of flex-ducts. Opening a door, he passes through it and is surprised to find himself in a trailer driven by Jill. The two leave the city together. However, this "happy ending" is a product of Sam's delusions: he is still strapped to the chair. Realising that Sam has descended into blissful insanity, Jack and Mr. Helpmann declare him a lost cause and leave the room. Sam remains in the chair, smiling and singing "Brazil". | The woman from Sam's dreams |
Why does Jill hold back in telling Sam crucial details? | movie | Sam Lowry (Jonathan Pryce) is a low-level government employee who frequently daydreams of saving a damsel in distress. When a fly gets jammed in a printer and results in the incarceration and accidental death during interrogation of cobbler Archibald Buttle â instead of renegade air conditioning specialist and suspected terrorist Archibald Tuttle â Sam is assigned the task of rectifying the error. Visiting Buttle's widow, Sam encounters their neighbour Jill Layton (Kim Greist), and is astonished to see that she resembles the woman from his recurring dreams. Jill is trying to help Mrs. Buttle determine what happened to her husband, but her efforts are obstructed by bureaucracy. Unknown to her, she is now considered a terrorist accomplice of Tuttle for attempting to report the mistake of Buttle's arrest to a government which would rather dispose of all evidence and witnesses than admit its error. Sam approaches Jill, but she avoids giving him full details, worried the government will track her down.
During this time, Sam comes in contact with Tuttle (Robert De Niro), who once worked for Central Services but left due to his dislike of the tedious and repetitive paperwork. Tuttle helps Sam deal with two Central Services workers, Spoor (Bob Hoskins) and Dowser (Derrick O'Connor), who later return to demolish Sam's ducts and seize his apartment under the guise of fixing the air conditioning. Sam discovers that the only way to learn about Jill is to get transferred to Information Retrieval, where he can access her classified records. He had previously turned down a promotion arranged by his mother, Ida (Katherine Helmond), who is obsessed with the rejuvenating plastic surgery of cosmetic surgeon Dr. Jaffe (Jim Broadbent). Sam retracts his refusal by speaking with Deputy Minister Mr. Helpmann (Peter Vaughan) at a party hosted by Ida. Obtaining Jill's records, Sam tracks her down before she can be arrested, then falsifies the records to fake her death, allowing her to escape pursuit. The two share a romantic night together, but are soon apprehended by the government at gunpoint. Charged with treason for abusing his new position, Sam is restrained to a chair in a large, empty cylindrical room (the interior of a power station cooling tower), to be tortured by his old friend, Jack Lint (Michael Palin). Sam learns that Jill was killed while resisting arrest.
When Jack is about to start the torturing, Tuttle and other members of the resistance break into the Ministry, shooting Jack, rescuing Sam, and blowing up the Ministry building. Sam and Tuttle flee together, but Tuttle disappears amid a mass of scraps of paperwork from the destroyed building. Sam stumbles into the funeral for Ida's friend, who died following excessive cosmetic surgery; finding Ida resembling Jill and being fawned over by young men, Sam falls into the open casket and through a black void. He lands in a street from his daydreams, and attempts to escape police and monsters by climbing a pile of flex-ducts. Opening a door, he passes through it and is surprised to find himself in a trailer driven by Jill. The two leave the city together. However, this "happy ending" is a product of Sam's delusions: he is still strapped to the chair. Realising that Sam has descended into blissful insanity, Jack and Mr. Helpmann declare him a lost cause and leave the room. Sam remains in the chair, smiling and singing "Brazil". | In fear that the government will track her down |
Why does Sam wish to be transferred to Information Retrieval? | movie | Sam Lowry (Jonathan Pryce) is a low-level government employee who frequently daydreams of saving a damsel in distress. When a fly gets jammed in a printer and results in the incarceration and accidental death during interrogation of cobbler Archibald Buttle â instead of renegade air conditioning specialist and suspected terrorist Archibald Tuttle â Sam is assigned the task of rectifying the error. Visiting Buttle's widow, Sam encounters their neighbour Jill Layton (Kim Greist), and is astonished to see that she resembles the woman from his recurring dreams. Jill is trying to help Mrs. Buttle determine what happened to her husband, but her efforts are obstructed by bureaucracy. Unknown to her, she is now considered a terrorist accomplice of Tuttle for attempting to report the mistake of Buttle's arrest to a government which would rather dispose of all evidence and witnesses than admit its error. Sam approaches Jill, but she avoids giving him full details, worried the government will track her down.
During this time, Sam comes in contact with Tuttle (Robert De Niro), who once worked for Central Services but left due to his dislike of the tedious and repetitive paperwork. Tuttle helps Sam deal with two Central Services workers, Spoor (Bob Hoskins) and Dowser (Derrick O'Connor), who later return to demolish Sam's ducts and seize his apartment under the guise of fixing the air conditioning. Sam discovers that the only way to learn about Jill is to get transferred to Information Retrieval, where he can access her classified records. He had previously turned down a promotion arranged by his mother, Ida (Katherine Helmond), who is obsessed with the rejuvenating plastic surgery of cosmetic surgeon Dr. Jaffe (Jim Broadbent). Sam retracts his refusal by speaking with Deputy Minister Mr. Helpmann (Peter Vaughan) at a party hosted by Ida. Obtaining Jill's records, Sam tracks her down before she can be arrested, then falsifies the records to fake her death, allowing her to escape pursuit. The two share a romantic night together, but are soon apprehended by the government at gunpoint. Charged with treason for abusing his new position, Sam is restrained to a chair in a large, empty cylindrical room (the interior of a power station cooling tower), to be tortured by his old friend, Jack Lint (Michael Palin). Sam learns that Jill was killed while resisting arrest.
When Jack is about to start the torturing, Tuttle and other members of the resistance break into the Ministry, shooting Jack, rescuing Sam, and blowing up the Ministry building. Sam and Tuttle flee together, but Tuttle disappears amid a mass of scraps of paperwork from the destroyed building. Sam stumbles into the funeral for Ida's friend, who died following excessive cosmetic surgery; finding Ida resembling Jill and being fawned over by young men, Sam falls into the open casket and through a black void. He lands in a street from his daydreams, and attempts to escape police and monsters by climbing a pile of flex-ducts. Opening a door, he passes through it and is surprised to find himself in a trailer driven by Jill. The two leave the city together. However, this "happy ending" is a product of Sam's delusions: he is still strapped to the chair. Realising that Sam has descended into blissful insanity, Jack and Mr. Helpmann declare him a lost cause and leave the room. Sam remains in the chair, smiling and singing "Brazil". | So he can access Jill's classified records |
Who is Ida obsessed with? | movie | Sam Lowry (Jonathan Pryce) is a low-level government employee who frequently daydreams of saving a damsel in distress. When a fly gets jammed in a printer and results in the incarceration and accidental death during interrogation of cobbler Archibald Buttle â instead of renegade air conditioning specialist and suspected terrorist Archibald Tuttle â Sam is assigned the task of rectifying the error. Visiting Buttle's widow, Sam encounters their neighbour Jill Layton (Kim Greist), and is astonished to see that she resembles the woman from his recurring dreams. Jill is trying to help Mrs. Buttle determine what happened to her husband, but her efforts are obstructed by bureaucracy. Unknown to her, she is now considered a terrorist accomplice of Tuttle for attempting to report the mistake of Buttle's arrest to a government which would rather dispose of all evidence and witnesses than admit its error. Sam approaches Jill, but she avoids giving him full details, worried the government will track her down.
During this time, Sam comes in contact with Tuttle (Robert De Niro), who once worked for Central Services but left due to his dislike of the tedious and repetitive paperwork. Tuttle helps Sam deal with two Central Services workers, Spoor (Bob Hoskins) and Dowser (Derrick O'Connor), who later return to demolish Sam's ducts and seize his apartment under the guise of fixing the air conditioning. Sam discovers that the only way to learn about Jill is to get transferred to Information Retrieval, where he can access her classified records. He had previously turned down a promotion arranged by his mother, Ida (Katherine Helmond), who is obsessed with the rejuvenating plastic surgery of cosmetic surgeon Dr. Jaffe (Jim Broadbent). Sam retracts his refusal by speaking with Deputy Minister Mr. Helpmann (Peter Vaughan) at a party hosted by Ida. Obtaining Jill's records, Sam tracks her down before she can be arrested, then falsifies the records to fake her death, allowing her to escape pursuit. The two share a romantic night together, but are soon apprehended by the government at gunpoint. Charged with treason for abusing his new position, Sam is restrained to a chair in a large, empty cylindrical room (the interior of a power station cooling tower), to be tortured by his old friend, Jack Lint (Michael Palin). Sam learns that Jill was killed while resisting arrest.
When Jack is about to start the torturing, Tuttle and other members of the resistance break into the Ministry, shooting Jack, rescuing Sam, and blowing up the Ministry building. Sam and Tuttle flee together, but Tuttle disappears amid a mass of scraps of paperwork from the destroyed building. Sam stumbles into the funeral for Ida's friend, who died following excessive cosmetic surgery; finding Ida resembling Jill and being fawned over by young men, Sam falls into the open casket and through a black void. He lands in a street from his daydreams, and attempts to escape police and monsters by climbing a pile of flex-ducts. Opening a door, he passes through it and is surprised to find himself in a trailer driven by Jill. The two leave the city together. However, this "happy ending" is a product of Sam's delusions: he is still strapped to the chair. Realising that Sam has descended into blissful insanity, Jack and Mr. Helpmann declare him a lost cause and leave the room. Sam remains in the chair, smiling and singing "Brazil". | Dr. Jaffe |
What was Sam charged with? | movie | Sam Lowry (Jonathan Pryce) is a low-level government employee who frequently daydreams of saving a damsel in distress. When a fly gets jammed in a printer and results in the incarceration and accidental death during interrogation of cobbler Archibald Buttle â instead of renegade air conditioning specialist and suspected terrorist Archibald Tuttle â Sam is assigned the task of rectifying the error. Visiting Buttle's widow, Sam encounters their neighbour Jill Layton (Kim Greist), and is astonished to see that she resembles the woman from his recurring dreams. Jill is trying to help Mrs. Buttle determine what happened to her husband, but her efforts are obstructed by bureaucracy. Unknown to her, she is now considered a terrorist accomplice of Tuttle for attempting to report the mistake of Buttle's arrest to a government which would rather dispose of all evidence and witnesses than admit its error. Sam approaches Jill, but she avoids giving him full details, worried the government will track her down.
During this time, Sam comes in contact with Tuttle (Robert De Niro), who once worked for Central Services but left due to his dislike of the tedious and repetitive paperwork. Tuttle helps Sam deal with two Central Services workers, Spoor (Bob Hoskins) and Dowser (Derrick O'Connor), who later return to demolish Sam's ducts and seize his apartment under the guise of fixing the air conditioning. Sam discovers that the only way to learn about Jill is to get transferred to Information Retrieval, where he can access her classified records. He had previously turned down a promotion arranged by his mother, Ida (Katherine Helmond), who is obsessed with the rejuvenating plastic surgery of cosmetic surgeon Dr. Jaffe (Jim Broadbent). Sam retracts his refusal by speaking with Deputy Minister Mr. Helpmann (Peter Vaughan) at a party hosted by Ida. Obtaining Jill's records, Sam tracks her down before she can be arrested, then falsifies the records to fake her death, allowing her to escape pursuit. The two share a romantic night together, but are soon apprehended by the government at gunpoint. Charged with treason for abusing his new position, Sam is restrained to a chair in a large, empty cylindrical room (the interior of a power station cooling tower), to be tortured by his old friend, Jack Lint (Michael Palin). Sam learns that Jill was killed while resisting arrest.
When Jack is about to start the torturing, Tuttle and other members of the resistance break into the Ministry, shooting Jack, rescuing Sam, and blowing up the Ministry building. Sam and Tuttle flee together, but Tuttle disappears amid a mass of scraps of paperwork from the destroyed building. Sam stumbles into the funeral for Ida's friend, who died following excessive cosmetic surgery; finding Ida resembling Jill and being fawned over by young men, Sam falls into the open casket and through a black void. He lands in a street from his daydreams, and attempts to escape police and monsters by climbing a pile of flex-ducts. Opening a door, he passes through it and is surprised to find himself in a trailer driven by Jill. The two leave the city together. However, this "happy ending" is a product of Sam's delusions: he is still strapped to the chair. Realising that Sam has descended into blissful insanity, Jack and Mr. Helpmann declare him a lost cause and leave the room. Sam remains in the chair, smiling and singing "Brazil". | Treason |
Who is driving the trailer? | movie | Sam Lowry (Jonathan Pryce) is a low-level government employee who frequently daydreams of saving a damsel in distress. When a fly gets jammed in a printer and results in the incarceration and accidental death during interrogation of cobbler Archibald Buttle â instead of renegade air conditioning specialist and suspected terrorist Archibald Tuttle â Sam is assigned the task of rectifying the error. Visiting Buttle's widow, Sam encounters their neighbour Jill Layton (Kim Greist), and is astonished to see that she resembles the woman from his recurring dreams. Jill is trying to help Mrs. Buttle determine what happened to her husband, but her efforts are obstructed by bureaucracy. Unknown to her, she is now considered a terrorist accomplice of Tuttle for attempting to report the mistake of Buttle's arrest to a government which would rather dispose of all evidence and witnesses than admit its error. Sam approaches Jill, but she avoids giving him full details, worried the government will track her down.
During this time, Sam comes in contact with Tuttle (Robert De Niro), who once worked for Central Services but left due to his dislike of the tedious and repetitive paperwork. Tuttle helps Sam deal with two Central Services workers, Spoor (Bob Hoskins) and Dowser (Derrick O'Connor), who later return to demolish Sam's ducts and seize his apartment under the guise of fixing the air conditioning. Sam discovers that the only way to learn about Jill is to get transferred to Information Retrieval, where he can access her classified records. He had previously turned down a promotion arranged by his mother, Ida (Katherine Helmond), who is obsessed with the rejuvenating plastic surgery of cosmetic surgeon Dr. Jaffe (Jim Broadbent). Sam retracts his refusal by speaking with Deputy Minister Mr. Helpmann (Peter Vaughan) at a party hosted by Ida. Obtaining Jill's records, Sam tracks her down before she can be arrested, then falsifies the records to fake her death, allowing her to escape pursuit. The two share a romantic night together, but are soon apprehended by the government at gunpoint. Charged with treason for abusing his new position, Sam is restrained to a chair in a large, empty cylindrical room (the interior of a power station cooling tower), to be tortured by his old friend, Jack Lint (Michael Palin). Sam learns that Jill was killed while resisting arrest.
When Jack is about to start the torturing, Tuttle and other members of the resistance break into the Ministry, shooting Jack, rescuing Sam, and blowing up the Ministry building. Sam and Tuttle flee together, but Tuttle disappears amid a mass of scraps of paperwork from the destroyed building. Sam stumbles into the funeral for Ida's friend, who died following excessive cosmetic surgery; finding Ida resembling Jill and being fawned over by young men, Sam falls into the open casket and through a black void. He lands in a street from his daydreams, and attempts to escape police and monsters by climbing a pile of flex-ducts. Opening a door, he passes through it and is surprised to find himself in a trailer driven by Jill. The two leave the city together. However, this "happy ending" is a product of Sam's delusions: he is still strapped to the chair. Realising that Sam has descended into blissful insanity, Jack and Mr. Helpmann declare him a lost cause and leave the room. Sam remains in the chair, smiling and singing "Brazil". | Jill |
What song is Sam singing? | movie | Sam Lowry (Jonathan Pryce) is a low-level government employee who frequently daydreams of saving a damsel in distress. When a fly gets jammed in a printer and results in the incarceration and accidental death during interrogation of cobbler Archibald Buttle â instead of renegade air conditioning specialist and suspected terrorist Archibald Tuttle â Sam is assigned the task of rectifying the error. Visiting Buttle's widow, Sam encounters their neighbour Jill Layton (Kim Greist), and is astonished to see that she resembles the woman from his recurring dreams. Jill is trying to help Mrs. Buttle determine what happened to her husband, but her efforts are obstructed by bureaucracy. Unknown to her, she is now considered a terrorist accomplice of Tuttle for attempting to report the mistake of Buttle's arrest to a government which would rather dispose of all evidence and witnesses than admit its error. Sam approaches Jill, but she avoids giving him full details, worried the government will track her down.
During this time, Sam comes in contact with Tuttle (Robert De Niro), who once worked for Central Services but left due to his dislike of the tedious and repetitive paperwork. Tuttle helps Sam deal with two Central Services workers, Spoor (Bob Hoskins) and Dowser (Derrick O'Connor), who later return to demolish Sam's ducts and seize his apartment under the guise of fixing the air conditioning. Sam discovers that the only way to learn about Jill is to get transferred to Information Retrieval, where he can access her classified records. He had previously turned down a promotion arranged by his mother, Ida (Katherine Helmond), who is obsessed with the rejuvenating plastic surgery of cosmetic surgeon Dr. Jaffe (Jim Broadbent). Sam retracts his refusal by speaking with Deputy Minister Mr. Helpmann (Peter Vaughan) at a party hosted by Ida. Obtaining Jill's records, Sam tracks her down before she can be arrested, then falsifies the records to fake her death, allowing her to escape pursuit. The two share a romantic night together, but are soon apprehended by the government at gunpoint. Charged with treason for abusing his new position, Sam is restrained to a chair in a large, empty cylindrical room (the interior of a power station cooling tower), to be tortured by his old friend, Jack Lint (Michael Palin). Sam learns that Jill was killed while resisting arrest.
When Jack is about to start the torturing, Tuttle and other members of the resistance break into the Ministry, shooting Jack, rescuing Sam, and blowing up the Ministry building. Sam and Tuttle flee together, but Tuttle disappears amid a mass of scraps of paperwork from the destroyed building. Sam stumbles into the funeral for Ida's friend, who died following excessive cosmetic surgery; finding Ida resembling Jill and being fawned over by young men, Sam falls into the open casket and through a black void. He lands in a street from his daydreams, and attempts to escape police and monsters by climbing a pile of flex-ducts. Opening a door, he passes through it and is surprised to find himself in a trailer driven by Jill. The two leave the city together. However, this "happy ending" is a product of Sam's delusions: he is still strapped to the chair. Realising that Sam has descended into blissful insanity, Jack and Mr. Helpmann declare him a lost cause and leave the room. Sam remains in the chair, smiling and singing "Brazil". | Brazil |
Why did Archibald Tuttle quit his job at Central Services? | movie | Sam Lowry (Jonathan Pryce) is a low-level government employee who frequently daydreams of saving a damsel in distress. When a fly gets jammed in a printer and results in the incarceration and accidental death during interrogation of cobbler Archibald Buttle â instead of renegade air conditioning specialist and suspected terrorist Archibald Tuttle â Sam is assigned the task of rectifying the error. Visiting Buttle's widow, Sam encounters their neighbour Jill Layton (Kim Greist), and is astonished to see that she resembles the woman from his recurring dreams. Jill is trying to help Mrs. Buttle determine what happened to her husband, but her efforts are obstructed by bureaucracy. Unknown to her, she is now considered a terrorist accomplice of Tuttle for attempting to report the mistake of Buttle's arrest to a government which would rather dispose of all evidence and witnesses than admit its error. Sam approaches Jill, but she avoids giving him full details, worried the government will track her down.
During this time, Sam comes in contact with Tuttle (Robert De Niro), who once worked for Central Services but left due to his dislike of the tedious and repetitive paperwork. Tuttle helps Sam deal with two Central Services workers, Spoor (Bob Hoskins) and Dowser (Derrick O'Connor), who later return to demolish Sam's ducts and seize his apartment under the guise of fixing the air conditioning. Sam discovers that the only way to learn about Jill is to get transferred to Information Retrieval, where he can access her classified records. He had previously turned down a promotion arranged by his mother, Ida (Katherine Helmond), who is obsessed with the rejuvenating plastic surgery of cosmetic surgeon Dr. Jaffe (Jim Broadbent). Sam retracts his refusal by speaking with Deputy Minister Mr. Helpmann (Peter Vaughan) at a party hosted by Ida. Obtaining Jill's records, Sam tracks her down before she can be arrested, then falsifies the records to fake her death, allowing her to escape pursuit. The two share a romantic night together, but are soon apprehended by the government at gunpoint. Charged with treason for abusing his new position, Sam is restrained to a chair in a large, empty cylindrical room (the interior of a power station cooling tower), to be tortured by his old friend, Jack Lint (Michael Palin). Sam learns that Jill was killed while resisting arrest.
When Jack is about to start the torturing, Tuttle and other members of the resistance break into the Ministry, shooting Jack, rescuing Sam, and blowing up the Ministry building. Sam and Tuttle flee together, but Tuttle disappears amid a mass of scraps of paperwork from the destroyed building. Sam stumbles into the funeral for Ida's friend, who died following excessive cosmetic surgery; finding Ida resembling Jill and being fawned over by young men, Sam falls into the open casket and through a black void. He lands in a street from his daydreams, and attempts to escape police and monsters by climbing a pile of flex-ducts. Opening a door, he passes through it and is surprised to find himself in a trailer driven by Jill. The two leave the city together. However, this "happy ending" is a product of Sam's delusions: he is still strapped to the chair. Realising that Sam has descended into blissful insanity, Jack and Mr. Helpmann declare him a lost cause and leave the room. Sam remains in the chair, smiling and singing "Brazil". | Tuttle disliked the paper work involved. |
Why does Sam accept the promotion to Information Retrieval that he previously turned down? | movie | Sam Lowry (Jonathan Pryce) is a low-level government employee who frequently daydreams of saving a damsel in distress. When a fly gets jammed in a printer and results in the incarceration and accidental death during interrogation of cobbler Archibald Buttle â instead of renegade air conditioning specialist and suspected terrorist Archibald Tuttle â Sam is assigned the task of rectifying the error. Visiting Buttle's widow, Sam encounters their neighbour Jill Layton (Kim Greist), and is astonished to see that she resembles the woman from his recurring dreams. Jill is trying to help Mrs. Buttle determine what happened to her husband, but her efforts are obstructed by bureaucracy. Unknown to her, she is now considered a terrorist accomplice of Tuttle for attempting to report the mistake of Buttle's arrest to a government which would rather dispose of all evidence and witnesses than admit its error. Sam approaches Jill, but she avoids giving him full details, worried the government will track her down.
During this time, Sam comes in contact with Tuttle (Robert De Niro), who once worked for Central Services but left due to his dislike of the tedious and repetitive paperwork. Tuttle helps Sam deal with two Central Services workers, Spoor (Bob Hoskins) and Dowser (Derrick O'Connor), who later return to demolish Sam's ducts and seize his apartment under the guise of fixing the air conditioning. Sam discovers that the only way to learn about Jill is to get transferred to Information Retrieval, where he can access her classified records. He had previously turned down a promotion arranged by his mother, Ida (Katherine Helmond), who is obsessed with the rejuvenating plastic surgery of cosmetic surgeon Dr. Jaffe (Jim Broadbent). Sam retracts his refusal by speaking with Deputy Minister Mr. Helpmann (Peter Vaughan) at a party hosted by Ida. Obtaining Jill's records, Sam tracks her down before she can be arrested, then falsifies the records to fake her death, allowing her to escape pursuit. The two share a romantic night together, but are soon apprehended by the government at gunpoint. Charged with treason for abusing his new position, Sam is restrained to a chair in a large, empty cylindrical room (the interior of a power station cooling tower), to be tortured by his old friend, Jack Lint (Michael Palin). Sam learns that Jill was killed while resisting arrest.
When Jack is about to start the torturing, Tuttle and other members of the resistance break into the Ministry, shooting Jack, rescuing Sam, and blowing up the Ministry building. Sam and Tuttle flee together, but Tuttle disappears amid a mass of scraps of paperwork from the destroyed building. Sam stumbles into the funeral for Ida's friend, who died following excessive cosmetic surgery; finding Ida resembling Jill and being fawned over by young men, Sam falls into the open casket and through a black void. He lands in a street from his daydreams, and attempts to escape police and monsters by climbing a pile of flex-ducts. Opening a door, he passes through it and is surprised to find himself in a trailer driven by Jill. The two leave the city together. However, this "happy ending" is a product of Sam's delusions: he is still strapped to the chair. Realising that Sam has descended into blissful insanity, Jack and Mr. Helpmann declare him a lost cause and leave the room. Sam remains in the chair, smiling and singing "Brazil". | To obtain and read Jill's records |
Why do Jack and Mr. Helpmann decide not to torture Sam? | movie | Sam Lowry (Jonathan Pryce) is a low-level government employee who frequently daydreams of saving a damsel in distress. When a fly gets jammed in a printer and results in the incarceration and accidental death during interrogation of cobbler Archibald Buttle â instead of renegade air conditioning specialist and suspected terrorist Archibald Tuttle â Sam is assigned the task of rectifying the error. Visiting Buttle's widow, Sam encounters their neighbour Jill Layton (Kim Greist), and is astonished to see that she resembles the woman from his recurring dreams. Jill is trying to help Mrs. Buttle determine what happened to her husband, but her efforts are obstructed by bureaucracy. Unknown to her, she is now considered a terrorist accomplice of Tuttle for attempting to report the mistake of Buttle's arrest to a government which would rather dispose of all evidence and witnesses than admit its error. Sam approaches Jill, but she avoids giving him full details, worried the government will track her down.
During this time, Sam comes in contact with Tuttle (Robert De Niro), who once worked for Central Services but left due to his dislike of the tedious and repetitive paperwork. Tuttle helps Sam deal with two Central Services workers, Spoor (Bob Hoskins) and Dowser (Derrick O'Connor), who later return to demolish Sam's ducts and seize his apartment under the guise of fixing the air conditioning. Sam discovers that the only way to learn about Jill is to get transferred to Information Retrieval, where he can access her classified records. He had previously turned down a promotion arranged by his mother, Ida (Katherine Helmond), who is obsessed with the rejuvenating plastic surgery of cosmetic surgeon Dr. Jaffe (Jim Broadbent). Sam retracts his refusal by speaking with Deputy Minister Mr. Helpmann (Peter Vaughan) at a party hosted by Ida. Obtaining Jill's records, Sam tracks her down before she can be arrested, then falsifies the records to fake her death, allowing her to escape pursuit. The two share a romantic night together, but are soon apprehended by the government at gunpoint. Charged with treason for abusing his new position, Sam is restrained to a chair in a large, empty cylindrical room (the interior of a power station cooling tower), to be tortured by his old friend, Jack Lint (Michael Palin). Sam learns that Jill was killed while resisting arrest.
When Jack is about to start the torturing, Tuttle and other members of the resistance break into the Ministry, shooting Jack, rescuing Sam, and blowing up the Ministry building. Sam and Tuttle flee together, but Tuttle disappears amid a mass of scraps of paperwork from the destroyed building. Sam stumbles into the funeral for Ida's friend, who died following excessive cosmetic surgery; finding Ida resembling Jill and being fawned over by young men, Sam falls into the open casket and through a black void. He lands in a street from his daydreams, and attempts to escape police and monsters by climbing a pile of flex-ducts. Opening a door, he passes through it and is surprised to find himself in a trailer driven by Jill. The two leave the city together. However, this "happy ending" is a product of Sam's delusions: he is still strapped to the chair. Realising that Sam has descended into blissful insanity, Jack and Mr. Helpmann declare him a lost cause and leave the room. Sam remains in the chair, smiling and singing "Brazil". | They realize he has become lost in delusions. |
What type of medical procedures is Sam's mother obsessed with? | movie | Sam Lowry (Jonathan Pryce) is a low-level government employee who frequently daydreams of saving a damsel in distress. When a fly gets jammed in a printer and results in the incarceration and accidental death during interrogation of cobbler Archibald Buttle â instead of renegade air conditioning specialist and suspected terrorist Archibald Tuttle â Sam is assigned the task of rectifying the error. Visiting Buttle's widow, Sam encounters their neighbour Jill Layton (Kim Greist), and is astonished to see that she resembles the woman from his recurring dreams. Jill is trying to help Mrs. Buttle determine what happened to her husband, but her efforts are obstructed by bureaucracy. Unknown to her, she is now considered a terrorist accomplice of Tuttle for attempting to report the mistake of Buttle's arrest to a government which would rather dispose of all evidence and witnesses than admit its error. Sam approaches Jill, but she avoids giving him full details, worried the government will track her down.
During this time, Sam comes in contact with Tuttle (Robert De Niro), who once worked for Central Services but left due to his dislike of the tedious and repetitive paperwork. Tuttle helps Sam deal with two Central Services workers, Spoor (Bob Hoskins) and Dowser (Derrick O'Connor), who later return to demolish Sam's ducts and seize his apartment under the guise of fixing the air conditioning. Sam discovers that the only way to learn about Jill is to get transferred to Information Retrieval, where he can access her classified records. He had previously turned down a promotion arranged by his mother, Ida (Katherine Helmond), who is obsessed with the rejuvenating plastic surgery of cosmetic surgeon Dr. Jaffe (Jim Broadbent). Sam retracts his refusal by speaking with Deputy Minister Mr. Helpmann (Peter Vaughan) at a party hosted by Ida. Obtaining Jill's records, Sam tracks her down before she can be arrested, then falsifies the records to fake her death, allowing her to escape pursuit. The two share a romantic night together, but are soon apprehended by the government at gunpoint. Charged with treason for abusing his new position, Sam is restrained to a chair in a large, empty cylindrical room (the interior of a power station cooling tower), to be tortured by his old friend, Jack Lint (Michael Palin). Sam learns that Jill was killed while resisting arrest.
When Jack is about to start the torturing, Tuttle and other members of the resistance break into the Ministry, shooting Jack, rescuing Sam, and blowing up the Ministry building. Sam and Tuttle flee together, but Tuttle disappears amid a mass of scraps of paperwork from the destroyed building. Sam stumbles into the funeral for Ida's friend, who died following excessive cosmetic surgery; finding Ida resembling Jill and being fawned over by young men, Sam falls into the open casket and through a black void. He lands in a street from his daydreams, and attempts to escape police and monsters by climbing a pile of flex-ducts. Opening a door, he passes through it and is surprised to find himself in a trailer driven by Jill. The two leave the city together. However, this "happy ending" is a product of Sam's delusions: he is still strapped to the chair. Realising that Sam has descended into blissful insanity, Jack and Mr. Helpmann declare him a lost cause and leave the room. Sam remains in the chair, smiling and singing "Brazil". | Cosmetic surgery |
Why is Sam surprised by Jill's appearance? | movie | Sam Lowry (Jonathan Pryce) is a low-level government employee who frequently daydreams of saving a damsel in distress. When a fly gets jammed in a printer and results in the incarceration and accidental death during interrogation of cobbler Archibald Buttle â instead of renegade air conditioning specialist and suspected terrorist Archibald Tuttle â Sam is assigned the task of rectifying the error. Visiting Buttle's widow, Sam encounters their neighbour Jill Layton (Kim Greist), and is astonished to see that she resembles the woman from his recurring dreams. Jill is trying to help Mrs. Buttle determine what happened to her husband, but her efforts are obstructed by bureaucracy. Unknown to her, she is now considered a terrorist accomplice of Tuttle for attempting to report the mistake of Buttle's arrest to a government which would rather dispose of all evidence and witnesses than admit its error. Sam approaches Jill, but she avoids giving him full details, worried the government will track her down.
During this time, Sam comes in contact with Tuttle (Robert De Niro), who once worked for Central Services but left due to his dislike of the tedious and repetitive paperwork. Tuttle helps Sam deal with two Central Services workers, Spoor (Bob Hoskins) and Dowser (Derrick O'Connor), who later return to demolish Sam's ducts and seize his apartment under the guise of fixing the air conditioning. Sam discovers that the only way to learn about Jill is to get transferred to Information Retrieval, where he can access her classified records. He had previously turned down a promotion arranged by his mother, Ida (Katherine Helmond), who is obsessed with the rejuvenating plastic surgery of cosmetic surgeon Dr. Jaffe (Jim Broadbent). Sam retracts his refusal by speaking with Deputy Minister Mr. Helpmann (Peter Vaughan) at a party hosted by Ida. Obtaining Jill's records, Sam tracks her down before she can be arrested, then falsifies the records to fake her death, allowing her to escape pursuit. The two share a romantic night together, but are soon apprehended by the government at gunpoint. Charged with treason for abusing his new position, Sam is restrained to a chair in a large, empty cylindrical room (the interior of a power station cooling tower), to be tortured by his old friend, Jack Lint (Michael Palin). Sam learns that Jill was killed while resisting arrest.
When Jack is about to start the torturing, Tuttle and other members of the resistance break into the Ministry, shooting Jack, rescuing Sam, and blowing up the Ministry building. Sam and Tuttle flee together, but Tuttle disappears amid a mass of scraps of paperwork from the destroyed building. Sam stumbles into the funeral for Ida's friend, who died following excessive cosmetic surgery; finding Ida resembling Jill and being fawned over by young men, Sam falls into the open casket and through a black void. He lands in a street from his daydreams, and attempts to escape police and monsters by climbing a pile of flex-ducts. Opening a door, he passes through it and is surprised to find himself in a trailer driven by Jill. The two leave the city together. However, this "happy ending" is a product of Sam's delusions: he is still strapped to the chair. Realising that Sam has descended into blissful insanity, Jack and Mr. Helpmann declare him a lost cause and leave the room. Sam remains in the chair, smiling and singing "Brazil". | She looks like the woman from his recurring daydreams. |
How does Jill die? | movie | Sam Lowry (Jonathan Pryce) is a low-level government employee who frequently daydreams of saving a damsel in distress. When a fly gets jammed in a printer and results in the incarceration and accidental death during interrogation of cobbler Archibald Buttle â instead of renegade air conditioning specialist and suspected terrorist Archibald Tuttle â Sam is assigned the task of rectifying the error. Visiting Buttle's widow, Sam encounters their neighbour Jill Layton (Kim Greist), and is astonished to see that she resembles the woman from his recurring dreams. Jill is trying to help Mrs. Buttle determine what happened to her husband, but her efforts are obstructed by bureaucracy. Unknown to her, she is now considered a terrorist accomplice of Tuttle for attempting to report the mistake of Buttle's arrest to a government which would rather dispose of all evidence and witnesses than admit its error. Sam approaches Jill, but she avoids giving him full details, worried the government will track her down.
During this time, Sam comes in contact with Tuttle (Robert De Niro), who once worked for Central Services but left due to his dislike of the tedious and repetitive paperwork. Tuttle helps Sam deal with two Central Services workers, Spoor (Bob Hoskins) and Dowser (Derrick O'Connor), who later return to demolish Sam's ducts and seize his apartment under the guise of fixing the air conditioning. Sam discovers that the only way to learn about Jill is to get transferred to Information Retrieval, where he can access her classified records. He had previously turned down a promotion arranged by his mother, Ida (Katherine Helmond), who is obsessed with the rejuvenating plastic surgery of cosmetic surgeon Dr. Jaffe (Jim Broadbent). Sam retracts his refusal by speaking with Deputy Minister Mr. Helpmann (Peter Vaughan) at a party hosted by Ida. Obtaining Jill's records, Sam tracks her down before she can be arrested, then falsifies the records to fake her death, allowing her to escape pursuit. The two share a romantic night together, but are soon apprehended by the government at gunpoint. Charged with treason for abusing his new position, Sam is restrained to a chair in a large, empty cylindrical room (the interior of a power station cooling tower), to be tortured by his old friend, Jack Lint (Michael Palin). Sam learns that Jill was killed while resisting arrest.
When Jack is about to start the torturing, Tuttle and other members of the resistance break into the Ministry, shooting Jack, rescuing Sam, and blowing up the Ministry building. Sam and Tuttle flee together, but Tuttle disappears amid a mass of scraps of paperwork from the destroyed building. Sam stumbles into the funeral for Ida's friend, who died following excessive cosmetic surgery; finding Ida resembling Jill and being fawned over by young men, Sam falls into the open casket and through a black void. He lands in a street from his daydreams, and attempts to escape police and monsters by climbing a pile of flex-ducts. Opening a door, he passes through it and is surprised to find himself in a trailer driven by Jill. The two leave the city together. However, this "happy ending" is a product of Sam's delusions: he is still strapped to the chair. Realising that Sam has descended into blissful insanity, Jack and Mr. Helpmann declare him a lost cause and leave the room. Sam remains in the chair, smiling and singing "Brazil". | She is killed resisting arrest. |
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