Replace clustering with a catalogue, and hand-write the references to judge it against
The pipeline's embed-and-cluster step is dead, and this commit holds both the evidence for that and the step proposed to replace it. Predicaments. Scenes are re-described as "what the person is up against", with no names, jobs or places, then embedded and clustered (redescribe.py, topic_words.py, topic_share.py). The pilot chose qwen3:14b over 3b by reading both side by side. Two defects the pilot exposed are fixed: split.py missed titles in quotes and a contents subtitle after a dash, so three stories had been merged into their neighbours, and strip_names.py read New York place names as people. The corrected corpus is probe/v2 (97 stories, 839 scenes); carry_summaries.py reuses the 829 unchanged v1 summaries. Topic share fell from 20% to 13% at k=60, short of the pre-registered 10%. Hand references. Three corpora were read scene by scene and written up by hand, under the same prompt rules the local models get, as a baseline to judge them against: O. Henry (probe/v2/claude, 839 scenes, 20 situations), Wharton's Descent of Man (probe/wharton, 262 scenes, 16 groups) and Jacobs's The Lady of the Barge (probe/jacobs, 157 scenes, 19 groups). Each has its own README and a readable page. No inference was used for any of them. Catalogue. probe/catalogue maps every hand group in the three references onto 36 situation entries, with an answer key per corpus and one recurrence rule applied to all three. classify.py assigns a scene one entry or none, leave-one-corpus- out; score.py checks it against the key, with a self-test on random labels. Why clustering is out: hand-written predicaments, embedded and clustered exactly as the model's were, agree with the hand grouping at ARI 0.05 — no better than the 14B text's 0.07. Better rewriting cannot rescue it. Embeddings cannot even shortlist: the hand label is the nearest entry 13% of the time and in the top 8 half the time. The classification runs are not here. The dev and test runs are pre-registered in probe/catalogue/README.md with the bar set beforehand, and are blocked on the inference host, whose GPU has fallen off the PCIe bus three times. The 30-scene partial output in out/ is not a result. Review page. The situation review is now a browser page rather than JSON edited by hand (review_page.py, review_page_logic.cjs with Node tests, format schema v2). It has never been rendered in a real browser. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> Claude-Session: https://claude.ai/code/session_014BygvsUXV9eU6oHkTCkKZ1
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<!doctype html><meta charset="utf-8"><meta name="viewport" content="width=device-width,initial-scale=1">
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<title>Predicament pilot</title>
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<style>
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:root{--bg:#f7f6f2;--card:#fff;--ink:#222;--dim:#666;--line:#ddd;--mark:#ffe08a;--pick:#e3f1e6}
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@media (prefers-color-scheme:dark){:root{--bg:#1b1b1d;--card:#252528;--ink:#e6e6e6;--dim:#999;--line:#3a3a3e;--mark:#6b5415;--pick:#23402b}}
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body{background:var(--bg);color:var(--ink);font:15px/1.5 system-ui,sans-serif;margin:0;padding:24px 16px}
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main{max-width:980px;margin:auto} h1{margin:0 0 4px} .dim{color:var(--dim)}
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table{border-collapse:collapse;margin:12px 0;font-size:14px} td,th{border-bottom:1px solid var(--line);padding:4px 10px;text-align:left}
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.wrap{overflow-x:auto}
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#tally{position:sticky;top:0;background:var(--bg);padding:8px 0;border-bottom:1px solid var(--line);z-index:1}
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section{background:var(--card);border:1px solid var(--line);border-radius:8px;padding:12px 14px;margin:14px 0}
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header .n{color:var(--dim);margin-right:4px} summary{cursor:pointer;color:var(--dim);margin:6px 0}
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.scene{white-space:pre-wrap;font-size:13px;color:var(--dim)}
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.pair{display:grid;grid-template-columns:1fr 1fr;gap:10px} @media (max-width:640px){.pair{grid-template-columns:1fr}}
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.pred{border:1px solid var(--line);border-radius:6px;padding:8px 10px} .pred p{margin:4px 0 8px}
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.pred:has(input:checked){background:var(--pick)} .who{font-size:12px;color:var(--dim)}
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mark{background:var(--mark);color:inherit;border-radius:2px} .both{display:block;margin-top:8px;font-size:13px;color:var(--dim)}
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</style>
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<main>
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<h1>Predicament pilot</h1>
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<p class="dim">The first 40 scenes, each re-described by two models as the main person's predicament. Names are
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already removed as the full run would. <mark>Highlighted</mark> words are jobs, relationships and places, the
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words the old groups formed around. Pick the better sentence in each scene, or "neither". The column order
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is fixed: qwen2.5:3b-instruct on the left.</p>
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<p class="dim">What to look for: does the sentence say what the person is up against and what they want? Could
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it happen to anyone, anywhere? Would two scenes with the same predicament end up with similar sentences?</p>
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<div class="wrap"><table><tr><th>Model</th><th>Has a highlighted word</th><th>Says "city"</th><th>Words, mean</th><th>Most common openings</th></tr><tr><td>qwen2.5:3b-instruct</td><td>15 of 40</td><td>5</td><td>14</td><td>“The Kid seeks…” ×3; “I want to…” ×2; “Someone wants the…” ×2</td></tr><tr><td>qwen3:14b</td><td>13 of 40</td><td>10</td><td>25</td><td>“A man struggles…” ×6; “A man tries…” ×3; “A man seeks…” ×2</td></tr></table></div>
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<div id="tally"></div>
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<section data-i="0">
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<header><span class="n">1</span> <b>THE VOICE OF THE CITY</b></header>
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<details><summary>Scene summary: Someone, a schoolteacher, seeks the wisdom of her former students to understand the complex vocal messages of a bustling city.</summary>
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<p class="scene">Twenty-five years ago the school children used to chant their
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lessons. The manner of their delivery was a singsong recitative
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between the utterance of an Episcopal minister and the drone of a
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tired sawmill. I mean no disrespect. We must have lumber and sawdust. I remember one beautiful and instructive little lyric that emanated
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from the physiology class. The most striking line of it was this: "The shin-bone is the long-est bone in the hu-man bod-y." What an inestimable boon it would have been if all the corporeal
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and spiritual facts pertaining to man had thus been tunefully and
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logically inculcated in our youthful minds! But what we gained in
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anatomy, music and philosophy was meagre. The other day I became confused. I needed a ray of light. I turned
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back to those school days for aid. But in all the nasal harmonies
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we whined forth from those hard benches I could not recall one that
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treated of the voice of agglomerated mankind. In other words, of the composite vocal message of massed humanity. In other words, of the Voice of a Big City. Now, the individual voice is not lacking. We can understand the
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song of the poet, the ripple of the brook, the meaning of the man
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who wants $5 until …</p></details>
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<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>Finding the voice of a big city, I sought in vain among school chants.</p><label><input type="radio" name="p0" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>A man struggles to understand the overwhelming complexity of a city's collective voice, seeking clarity in a world filled with individual sounds but no unified message.</p><label><input type="radio" name="p0" value="1"> better</label></div></div>
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<label class="both"><input type="radio" name="p0" value="n"> neither is a predicament</label>
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</section><section data-i="1">
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<header><span class="n">2</span> <b>THE VOICE OF THE CITY</b></header>
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<details><summary>Scene summary: I want to know what the city says, but someone thinks it repeats what someone says.</summary>
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<p class="scene">"Tell me," I said, stammeringly, for I have no voice of my own, "what
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does this big--er--enormous--er--whopping city say? It must have a
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voice of some kind. Does it ever speak to you? How do you interpret
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its meaning? It is a tremendous mass, but it must have a key." "Like a Saratoga trunk?" asked Aurelia. "No," said I. "Please do not refer to the lid. I have a fancy that
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every city has a voice. Each one has something to say to the one who
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can hear it. What does the big one say to you?" "All cities," said Aurelia, judicially, "say the same thing. When
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they get through saying it there is an echo from Philadelphia. So,
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they are unanimous." "Here are 4,000,000 people," said I, scholastically, "compressed upon
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an island, which is mostly lamb surrounded by Wall Street water. The
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conjunction of so many units into so small a space must result in an
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identity--or, or rather a homogeneity that finds its oral expression
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through a common channel. It is, as you might say, a consensus of
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translation, concentrating in a crystallized, general idea which
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reveals itself in what may be termed the Voice of the City. Can you
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tell me what it is?" Aurelia smiled wonderfully. She sat on the high stoop. A …</p></details>
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<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>I want to know the city's voice, but it echoes like someone.</p><label><input type="radio" name="p1" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>The person is trying to understand the city's hidden message, hoping to find a unified voice that reveals its true nature.</p><label><input type="radio" name="p1" value="1"> better</label></div></div>
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<label class="both"><input type="radio" name="p1" value="n"> neither is a predicament</label>
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</section><section data-i="2">
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<header><span class="n">3</span> <b>THE VOICE OF THE CITY</b></header>
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<details><summary>Scene summary: I must find the Voice of New someone, but first I seek out someone, the best <mark>bartender</mark>, to learn the city's unique ways.</summary>
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<p class="scene">"I must go and find out," I said, "what is the Voice of this City.
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Other cities have voices. It is an assignment. I must have it. New
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York," I continued, in a rising tone, "had better not hand me a cigar
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and say: 'Old man, I can't talk for publication.' No other city acts
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in that way. Chicago says, unhesitatingly, 'I will;' I Philadelphia
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says, 'I should;' New Orleans says, 'I used to;' Louisville says,
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'Don't care if I do;' St. Louis says, 'Excuse me;' Pittsburg says,
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'Smoke up.' Now, New York--" Aurelia smiled. "Very well," said I, "I must go elsewhere and find out." I went into a palace, tile-floored, cherub-ceilinged and square with
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the cop. I put my foot on the brass rail and said to Billy Magnus,
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the best bartender in the diocese: "Billy, you've lived in New York a long time--what kind of a
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song-and-dance does this old town give you? What I mean is, doesn't
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the gab of it seem to kind of bunch up and slide over the bar to you
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in a sort of amalgamated tip that hits off the burg in a kind of an
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epigram with a dash of bitters and a slice of--" "Excuse me a minute," said Billy, "somebody's punching the button at
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the side door." He went away; came back with an empty tin bucket; aga…</p></details>
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<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>I must find the unique voice of New someone, proving it doesn't treat me like a cigar.</p><label><input type="radio" name="p2" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>A man determined to uncover the unique voice of a city faces the challenge of distinguishing its true character from the distractions and distractions of daily life.</p><label><input type="radio" name="p2" value="1"> better</label></div></div>
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<label class="both"><input type="radio" name="p2" value="n"> neither is a predicament</label>
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</section><section data-i="3">
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<header><span class="n">4</span> <b>THE VOICE OF THE CITY</b></header>
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<details><summary>Scene summary: The <mark>cop</mark>, tasked with maintaining order, confronts a young man who questions the <mark>cop</mark>'s role and civic duty, leading to a conversation about the city's unrest and the <mark>cop</mark>'s mundane nightly duties.</summary>
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<p class="scene">I walked up to Broadway. I saw a cop on the corner. The cops take
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kids up, women across, and men in. I went up to him. "If I'm not exceeding the spiel limit," I said, "let me ask you. You
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see New York during its vocative hours. It is the function of you and
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your brother cops to preserve the acoustics of the city. There must
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be a civic voice that is intelligible to you. At night during your
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lonely rounds you must have heard it. What is the epitome of its
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turmoil and shouting? What does the city say to you?" "Friend," said the policeman, spinning his club, "it don't say
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nothing. I get my orders from the man higher up. Say, I guess you're
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all right. Stand here for a few minutes and keep an eye open for the
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roundsman." The cop melted into the darkness of the side street. In ten minutes
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he had returned. "Married last Tuesday," he said, half gruffly. "You know how they
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are. She comes to that corner at nine every night for a--comes to say
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'hello!' I generally manage to be there. Say, what was it you asked
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me a bit ago--what's doing in the city? Oh, there's a roof-garden or
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two just opened, twelve blocks up." I crossed a crow's-foot of street-car tracks, and skirted the edge
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of an umbrageo…</p></details>
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<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>I want to know the city's cry, but the <mark>cop</mark> only follows orders.</p><label><input type="radio" name="p3" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>A man tries to uncover the city's hidden voice through a <mark>cop</mark>, only to find that the <mark>cop</mark>'s personal life and indifference to the city's soul leave him with no real answers.</p><label><input type="radio" name="p3" value="1"> better</label></div></div>
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<label class="both"><input type="radio" name="p3" value="n"> neither is a predicament</label>
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</section><section data-i="4">
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<header><span class="n">5</span> <b>THE VOICE OF THE CITY</b></header>
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<details><summary>Scene summary: Bill, in the role of someone, seeks a poetic description of New someone’s soul from someone, someone, someone, May, and someone, hinting at a symposium to capture the city's multifaceted voice.</summary>
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<p class="scene">"Bill," said I (in the magazine he is Cleon), "give me a lift. I am
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on an assignment to find out the Voice of the city. You see, it's a
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special order. Ordinarily a symposium comprising the views of Henry
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Clews, John L. Sullivan, Edwin Markham, May Irwin and Charles Schwab
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would be about all. But this is a different matter. We want a broad,
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poetic, mystic vocalization of the city's soul and meaning. You are
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the very chap to give me a hint. Some years ago a man got at the
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Niagara Falls and gave us its pitch. The note was about two feet
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below the lowest G on the piano. Now, you can't put New York into a
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note unless it's better indorsed than that. But give me an idea of
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what it would say if it should speak. It is bound to be a mighty and
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far-reaching utterance. To arrive at it we must take the tremendous
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crash of the chords of the day's traffic, the laughter and music
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of the night, the solemn tones of Dr. Parkhurst, the rag-time, the
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weeping, the stealthy hum of cab-wheels, the shout of the press
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agent, the tinkle of fountains on the roof gardens, the hullabaloo
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of the strawberry vender and the covers of _Everybody's Magazine_,
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the whispers of the lovers in the parks--all these sounds …</p></details>
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<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>Bill, find the essence of New someone’s chaos and harmony.</p><label><input type="radio" name="p4" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>A man seeks to capture the essence of a city's soul through a unique blend of its sounds, hoping to create a single, powerful vocalization that represents its spirit.</p><label><input type="radio" name="p4" value="1"> better</label></div></div>
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<label class="both"><input type="radio" name="p4" value="n"> neither is a predicament</label>
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</section><section data-i="5">
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<header><span class="n">6</span> <b>THE VOICE OF THE CITY</b></header>
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<details><summary>Scene summary: The <mark>poet</mark> seeks advice from someone about his failed ties and unfulfilled prophecy, while a newsboy offers practical advice about buying a birthday present for someone.</summary>
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<p class="scene">"Do you remember," asked the poet, with a chuckle, "that California
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girl we met at Stiver's studio last week? Well, I'm on my way to see
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her. She repeated that poem of mine, 'The Tribute of Spring,' word
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for word. She's the smartest proposition in this town just at
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present. Say, how does this confounded tie look? I spoiled four
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before I got one to set right." "And the Voice that I asked you about?" I inquired. "Oh, she doesn't sing," said Cleon. "But you ought to hear her recite
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my 'Angel of the Inshore Wind.'" I passed on. I cornered a newsboy and he flashed at me prophetic pink
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papers that outstripped the news by two revolutions of the clock's
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longest hand. "Son," I said, while I pretended to chase coins in my penny pocket,
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"doesn't it sometimes seem to you as if the city ought to be able to
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talk? All these ups and downs and funny business and queer things
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happening every day--what would it say, do you think, if it could
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speak?" "Quit yer kiddin'," said the boy. "Wot paper yer want? I got no time
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to waste. It's Mag's birthday, and I want thirty cents to git her a
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present." Here was no interpreter of the city's mouthpiece. I bought a paper,
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and consigned its undeclared treaties, i…</p></details>
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<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>The <mark>poet</mark> seeks a hit with his poem, fearing rejection.</p><label><input type="radio" name="p5" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>A man seeks understanding from a city that refuses to speak, desperate to uncover a hidden truth that eludes everyone else.</p><label><input type="radio" name="p5" value="1"> better</label></div></div>
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<label class="both"><input type="radio" name="p5" value="n"> neither is a predicament</label>
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</section><section data-i="6">
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<header><span class="n">7</span> <b>THE VOICE OF THE CITY</b></header>
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<details><summary>Scene summary: Someone waits on her porch as night deepens, while her companion remains silent, their hands finally meeting in a moment of unspoken understanding.</summary>
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<p class="scene">Aurelia was still on the stoop. The moon was higher and the ivy
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shadows were deeper. I sat at her side and we watched a little cloud
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tilt at the drifting moon and go asunder quite pale and discomfited. And then, wonder of wonders and delight of delights! our hands
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somehow touched, and our fingers closed together and did not part. After half an hour Aurelia said, with that smile of hers: "Do you know, you haven't spoken a word since you came back!" "That," said I, nodding wisely, "is the Voice of the City." II</p></details>
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<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>Someone waits alone, wanting her companion to speak.</p><label><input type="radio" name="p6" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>Someone and the narrator sit in silence, caught between the quiet intimacy of the moment and the unspoken weight of the city's presence.</p><label><input type="radio" name="p6" value="1"> better</label></div></div>
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<label class="both"><input type="radio" name="p6" value="n"> neither is a predicament</label>
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</section><section data-i="7">
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<header><span class="n">8</span> <b>THE COMPLETE LIFE OF JOHN HOPKINS</b></header>
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<details><summary>Scene summary: Someone, a <mark>clerk</mark> at Insurance, seeks to understand life through poverty, love, and war, finding deeper meaning in urban experiences.</summary>
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<p class="scene">There is a saying that no man has tasted the full flavour of life
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until he has known poverty, love and war. The justness of this
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reflection commends it to the lover of condensed philosophy. The
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three conditions embrace about all there is in life worth knowing. A
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surface thinker might deem that wealth should be added to the list.
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Not so. When a poor man finds a long-hidden quarter-dollar that has
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slipped through a rip into his vest lining, he sounds the pleasure of
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life with a deeper plummet than any millionaire can hope to cast. It seems that the wise executive power that rules life has thought
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best to drill man in these three conditions; and none may escape all
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three. In rural places the terms do not mean so much. Poverty is less
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pinching; love is temperate; war shrinks to contests about boundary
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lines and the neighbors' hens. It is in the cities that our epigram
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gains in truth and vigor; and it has remained for one John Hopkins to
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crowd the experience into a rather small space of time. The Hopkins flat was like a thousand others. There was a rubber plant
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in one window; a flea-bitten terrier sat in the other, wondering when
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he was to have his day. John Hopkins was like a thousand …</p></details>
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<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>Someone finds deepest life joys in a hidden quarter, not wealth.</p><label><input type="radio" name="p7" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>Someone must navigate the harsh realities of poverty, love, and war all at once in the crowded, unforgiving city.</p><label><input type="radio" name="p7" value="1"> better</label></div></div>
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<label class="both"><input type="radio" name="p7" value="n"> neither is a predicament</label>
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</section><section data-i="8">
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<header><span class="n">9</span> <b>THE COMPLETE LIFE OF JOHN HOPKINS</b></header>
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<details><summary>Scene summary: Someone navigated the mundane routines and sudden upheavals of city life, from thrift <mark>store</mark> sales to <mark>street</mark> encounters with danger.</summary>
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<p class="scene">Mrs. Hopkins was like a thousand others. The auriferous tooth, the
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sedentary disposition, the Sunday afternoon wanderlust, the draught
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upon the delicatessen store for home-made comforts, the furor for
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department store marked-down sales, the feeling of superiority to
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the lady in the third-floor front who wore genuine ostrich tips and
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had two names over her bell, the mucilaginous hours during which
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she remained glued to the window sill, the vigilant avoidance of
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the instalment man, the tireless patronage of the acoustics of the
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dumb-waiter shaft--all the attributes of the Gotham flat-dweller were
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hers. One moment yet of sententiousness and the story moves. In the Big City large and sudden things happen. You round a corner
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and thrust the rib of your umbrella into the eye of your old friend
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from Kootenai Falls. You stroll out to pluck a Sweet William in
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||||
the park--and lo! bandits attack you--you are ambulanced to the
|
||||
hospital--you marry your nurse; are divorced--get squeezed while
|
||||
short on U. P. S. and D. O. W. N. S.--stand in the bread line--marry
|
||||
an heiress, take out your laundry and pay your club dues--seemingly
|
||||
all in the wink of an eye. You travel the streets, and a finger
|
||||
beckons …</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>Someone struggles to balance her desires and fears in the fast-paced city.</p><label><input type="radio" name="p8" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>Someone must navigate the chaotic unpredictability of city life while clinging to the comfort of her familiar routines.</p><label><input type="radio" name="p8" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p8" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="9">
|
||||
<header><span class="n">10</span> <b>THE COMPLETE LIFE OF JOHN HOPKINS</b></header>
|
||||
<details><summary>Scene summary: Someone sat in his <mark>flat</mark>, seeking conversation to spice up his life, while someone complained about the smells from across the hall.</summary>
|
||||
<p class="scene">John Hopkins sat, after a compressed dinner, in his glove-fitting
|
||||
straight-front flat. He sat upon a hornblende couch and gazed, with
|
||||
satiated eyes, at Art Brought Home to the People in the shape of "The
|
||||
Storm" tacked against the wall. Mrs. Hopkins discoursed droningly
|
||||
of the dinner smells from the flat across the hall. The flea-bitten
|
||||
terrier gave Hopkins a look of disgust, and showed a man-hating
|
||||
tooth. Here was neither poverty, love, nor war; but upon such barren stems
|
||||
may be grafted those essentials of a complete life. John Hopkins sought to inject a few raisins of conversation into
|
||||
the tasteless dough of existence. "Putting a new elevator in at the
|
||||
office," he said, discarding the nominative noun, "and the boss has
|
||||
turned out his whiskers." "You don't mean it!" commented Mrs. Hopkins. "Mr. Whipples," continued John, "wore his new spring suit down
|
||||
to-day. I liked it fine It's a gray with--" He stopped, suddenly
|
||||
stricken by a need that made itself known to him. "I believe I'll
|
||||
walk down to the corner and get a five-cent cigar," he concluded. John Hopkins took his hat and picked his way down the musty halls and
|
||||
stairs of the flat-house. The evening air was mild, and the streets s…</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>Someone sought to inject conversation into his tasteless existence by buying a cigar.</p><label><input type="radio" name="p9" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>Someone longs for connection but is trapped in a life of monotony and shallow conversation.</p><label><input type="radio" name="p9" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p9" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="10">
|
||||
<header><span class="n">11</span> <b>THE COMPLETE LIFE OF JOHN HOPKINS</b></header>
|
||||
<details><summary>Scene summary: Someone, seeking groceries, confronts someone over payment, escalating into a physical altercation in the <mark>store</mark>.</summary>
|
||||
<p class="scene">Hopkins, unknown in the store, entered and called genially for his
|
||||
"bunch of spinach, car-fare grade." This imputation deepened the
|
||||
pessimism of Freshmayer; but he set out a brand that came perilously
|
||||
near to filling the order. Hopkins bit off the roots of his purchase,
|
||||
and lighted up at the swinging gas jet. Feeling in his pockets to
|
||||
make payment, he found not a penny there. "Say, my friend," he explained, frankly, "I've come out without any
|
||||
change. Hand you that nickel first time I pass." Joy surged in Freshmayer's heart. Here was corroboration of his
|
||||
belief that the world was rotten and man a peripatetic evil. Without
|
||||
a word he rounded the end of his counter and made earnest onslaught
|
||||
upon his customer. Hopkins was no man to serve as a punching-bag for
|
||||
a pessimistic tobacconist. He quickly bestowed upon Freshmayer a
|
||||
colorado-maduro eye in return for the ardent kick that he received
|
||||
from that dealer in goods for cash only. The impetus of the enemy's attack forced the Hopkins line back to
|
||||
the sidewalk. There the conflict raged; the pacific wooden Indian,
|
||||
with his carven smile, was overturned, and those of the street who
|
||||
delighted in carnage pressed round to view the zealous joust.</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>Someone buys spinach, finds no cash, challenges tobacconist someone.</p><label><input type="radio" name="p10" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>A man tries to pay for a purchase with a promise of future money, but his dishonesty sparks a violent confrontation with a <mark>shopkeeper</mark> who sees his actions as proof of humanity's corruption.</p><label><input type="radio" name="p10" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p10" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="11">
|
||||
<header><span class="n">12</span> <b>THE COMPLETE LIFE OF JOHN HOPKINS</b></header>
|
||||
<details><summary>Scene summary: Someone, a rebus worker, eludes a <mark>policeman</mark> by running and jumping into a speeding car driven by a masked <mark>chauffeur</mark>, unaware of his passenger's indifference.</summary>
|
||||
<p class="scene">But then came the inevitable cop and imminent inconvenience for both
|
||||
the attacker and attacked. John Hopkins was a peaceful citizen, who
|
||||
worked at rebuses of nights in a flat, but he was not without the
|
||||
fundamental spirit of resistance that comes with the battle-rage.
|
||||
He knocked the policeman into a grocer's sidewalk display of goods
|
||||
and gave Freshmayer a punch that caused him temporarily to regret
|
||||
that he had not made it a rule to extend a five-cent line of credit
|
||||
to certain customers. Then Hopkins took spiritedly to his heels down
|
||||
the sidewalk, closely followed by the cigar-dealer and the policeman,
|
||||
whose uniform testified to the reason in the grocer's sign that read:
|
||||
"Eggs cheaper than anywhere else in the city." As Hopkins ran he became aware of a big, low, red, racing automobile
|
||||
that kept abreast of him in the street. This auto steered in to the
|
||||
side of the sidewalk, and the man guiding it motioned to Hopkins
|
||||
to jump into it. He did so without slackening his speed, and fell
|
||||
into the turkey-red upholstered seat beside the chauffeur. The big
|
||||
machine, with a diminuendo cough, flew away like an albatross down
|
||||
the avenue into which the street emptied. The driver of the auto sped hi…</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>Someone sought revenge, but found himself pursued by law enforcers and a mysterious <mark>chauffeur</mark> in a racing car.</p><label><input type="radio" name="p11" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>A man flees from police pursuit, seeking refuge in an unknown vehicle that offers him a chance to escape, but must decide whether to trust his mysterious rescuer.</p><label><input type="radio" name="p11" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p11" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="12">
|
||||
<header><span class="n">13</span> <b>THE COMPLETE LIFE OF JOHN HOPKINS</b></header>
|
||||
<details><summary>Scene summary: Someone, seeking revenge for mistreatment by a man who has insulted the lady, agrees to help despite someone’s initial reluctance.</summary>
|
||||
<p class="scene">"Come quick. The lady, she will explain. It is the great honor you
|
||||
will have, monsieur. Ah, that milady could call upon Armand to do
|
||||
this thing! But, no, I am only one chauffeur." With vehement gestures the chauffeur conducted Hopkins into the
|
||||
house. He was ushered into a small but luxurious reception chamber. A
|
||||
lady, young, and possessing the beauty of visions, rose from a chair.
|
||||
In her eyes smouldered a becoming anger. Her high-arched, threadlike
|
||||
brows were ruffled into a delicious frown. "Milady," said the chauffeur, bowing low, "I have the honor to
|
||||
relate to you that I went to the house of Monsieur Long and found
|
||||
him to be not at home. As I came back I see this gentleman in
|
||||
combat against--how you say--greatest odds. He is fighting with
|
||||
five--ten--thirty men--gendarmes, _aussi_. Yes, milady, he what you
|
||||
call 'swat' one--three--eight policemans. If that Monsieur Long is
|
||||
out I say to myself this gentleman he will serve milady so well, and
|
||||
I bring him here." "Very well, Armand," said the lady, "you may go." She turned to
|
||||
Hopkins. "I sent my chauffeur," she said, "to bring my cousin, Walter Long.
|
||||
There is a man in this house who has treated me with insult and
|
||||
abuse. I have complain…</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>Someone wants Milady's assistance against unseen attackers, while Milady seeks a brave companion.</p><label><input type="radio" name="p12" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>A man finds himself unexpectedly drawn into a personal conflict he did not ask for, yet must navigate with courage and discretion.</p><label><input type="radio" name="p12" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p12" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="13">
|
||||
<header><span class="n">14</span> <b>THE COMPLETE LIFE OF JOHN HOPKINS</b></header>
|
||||
<details><summary>Scene summary: Someone, smug after a romantic encounter, confronts a young man who had been flirting with a lady he desires.</summary>
|
||||
<p class="scene">John Hopkins thrust the remains of his cigar into his coat pocket.
|
||||
He looked upon this winning creature and felt his first thrill of
|
||||
romance. It was a knightly love, and contained no disloyalty to the
|
||||
flat with the flea-bitten terrier and the lady of his choice. He had
|
||||
married her after a picnic of the Lady Label Stickers' Union, Lodge
|
||||
No. 2, on a dare and a bet of new hats and chowder all around with
|
||||
his friend, Billy McManus. This angel who was begging him to come
|
||||
to her rescue was something too heavenly for chowder, and as for
|
||||
hats--golden, jewelled crowns for her! "Say," said John Hopkins, "just show me the guy that you've got the
|
||||
grouch at. I've neglected my talents as a scrapper heretofore, but
|
||||
this is my busy night." "He is in there," said the lady, pointing to a closed door. "Come.
|
||||
Are you sure that you do not falter or fear?" "Me?" said John Hopkins. "Just give me one of those roses in the
|
||||
bunch you are wearing, will you?" The lady gave him a red, red rose. John Hopkins kissed it, stuffed it
|
||||
into his vest pocket, opened the door and walked into the room. It
|
||||
was a handsome library, softly but brightly lighted. A young man was
|
||||
there, reading. "Books on etiquette is what you …</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>Someone seeks a romantic encounter, only to be kidnapped by a mysterious lady.</p><label><input type="radio" name="p13" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>Someone must confront a man who has wronged a woman he now feels compelled to protect, risking his own safety to do so.</p><label><input type="radio" name="p13" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p13" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="14">
|
||||
<header><span class="n">15</span> <b>THE COMPLETE LIFE OF JOHN HOPKINS</b></header>
|
||||
<details><summary>Scene summary: Someone and someone argue over someone, a St. Bernard dog, while someone watches his philandering <mark>wife</mark> and <mark>daughter</mark>.</summary>
|
||||
<p class="scene">"Bess," he said calmly, "I wish you would quit reading historical
|
||||
novels. How in the world did that fellow get in here?" "Armand brought him," said the young lady. "I think you are awfully
|
||||
mean not to let me have that St. Bernard. I sent Armand for Walter. I
|
||||
was so angry with you." "Be sensible, Bess," said the young man, taking her arm. "That dog
|
||||
isn't safe. He has bitten two or three people around the kennels.
|
||||
Come now, let's go tell auntie we are in good humor again." Arm in arm, they moved away. John Hopkins walked to his flat. The janitor's five-year-old daughter
|
||||
was playing on the steps. Hopkins gave her a nice, red rose and
|
||||
walked upstairs. Mrs. Hopkins was philandering with curl-papers. "Get your cigar?" she asked, disinterestedly. "Sure," said Hopkins, "and I knocked around a while outside. It's a
|
||||
nice night." He sat upon the hornblende sofa, took out the stump of his cigar,
|
||||
lighted it, and gazed at the graceful figures in "The Storm" on the
|
||||
opposite wall. "I was telling you," said he, "about Mr. Whipple's suit. It's a gray,
|
||||
with an invisible check, and it looks fine." III</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>Bess wants her St. Bernard, but someone wants her to stop reading dangerous novels.</p><label><input type="radio" name="p14" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>A man struggles to reconcile his growing affection for a woman with the rigid expectations of his social circle.</p><label><input type="radio" name="p14" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p14" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="15">
|
||||
<header><span class="n">16</span> <b>A LICKPENNY LOVER</b></header>
|
||||
<details><summary>Scene summary: Someone, a 19-year-old <mark>saleslady</mark> in men's gloves, learns much about customers and human nature in the Biggest <mark>Store</mark>, while keeping her own secrets.</summary>
|
||||
<p class="scene">There, were 3,000 girls in the Biggest Store. Masie was one of them.
|
||||
She was eighteen and a saleslady in the gents' gloves. Here she
|
||||
became versed in two varieties of human beings--the kind of gents who
|
||||
buy their gloves in department stores and the kind of women who buy
|
||||
gloves for unfortunate gents. Besides this wide knowledge of the
|
||||
human species, Masie had acquired other information. She had listened
|
||||
to the promulgated wisdom of the 2,999 other girls and had stored it
|
||||
in a brain that was as secretive and wary as that of a Maltese cat.
|
||||
Perhaps nature, foreseeing that she would lack wise counsellors, had
|
||||
mingled the saving ingredient of shrewdness along with her beauty, as
|
||||
she has endowed the silver fox of the priceless fur above the other
|
||||
animals with cunning. For Masie was beautiful. She was a deep-tinted blonde, with the calm
|
||||
poise of a lady who cooks butter cakes in a window. She stood behind
|
||||
her counter in the Biggest Store; and as you closed your hand over
|
||||
the tape-line for your glove measure you thought of Hebe; and as you
|
||||
looked again you wondered how she had come by Minerva's eyes. When the floorwalker was not looking Masie chewed tutti frutti; when
|
||||
he was looking she gaze…</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>Someone, a young <mark>saleslady</mark>, seeks to navigate the complexities of human nature while hiding her true identity.</p><label><input type="radio" name="p15" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>Someone, trapped in a monotonous job she despises, longs for a life that offers more than just the dull routine of selling gloves.</p><label><input type="radio" name="p15" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p15" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="16">
|
||||
<header><span class="n">17</span> <b>A LICKPENNY LOVER</b></header>
|
||||
<details><summary>Scene summary: Someone, a wealthy <mark>visitor</mark>, hesitates as floorwalker someone confronts him with a <mark>shopgirl</mark> smile, unaware of the flirtatious nature of his profession.</summary>
|
||||
<p class="scene">That is the shopgirl smile, and I enjoin you to shun it unless you
|
||||
are well fortified with callosity of the heart, caramels and a
|
||||
congeniality for the capers of Cupid. This smile belonged to Masie's
|
||||
recreation hours and not to the store; but the floorwalker must have
|
||||
his own. He is the Shylock of the stores. When he comes nosing around
|
||||
the bridge of his nose is a toll-bridge. It is goo-goo eyes or "git"
|
||||
when he looks toward a pretty girl. Of course not all floorwalkers
|
||||
are thus. Only a few days ago the papers printed news of one over
|
||||
eighty years of age. One day Irving Carter, painter, millionaire, traveller, poet,
|
||||
automobilist, happened to enter the Biggest Store. It is due to him
|
||||
to add that his visit was not voluntary. Filial duty took him by the
|
||||
collar and dragged him inside, while his mother philandered among the
|
||||
bronze and terra-cotta statuettes. Carter strolled across to the glove counter in order to shoot a
|
||||
few minutes on the wing. His need for gloves was genuine; he had
|
||||
forgotten to bring a pair with him. But his action hardly calls for
|
||||
apology, because he had never heard of glove-counter flirtations. As he neared the vicinity of his fate he hesitated, suddenly
|
||||
conscious o…</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>The <mark>shopgirl</mark> someone confronts the floorwalker someone with her flirtatious gaze, testing his resolve.</p><label><input type="radio" name="p16" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>A man finds himself trapped in an awkward encounter with a <mark>shopgirl</mark> whose icy beauty challenges his composure, forcing him to navigate the delicate line between professional decorum and unexpected attraction.</p><label><input type="radio" name="p16" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p16" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="17">
|
||||
<header><span class="n">18</span> <b>A LICKPENNY LOVER</b></header>
|
||||
<details><summary>Scene summary: Someone, <mark>millionaire</mark>, felt both flattered and awkward as he encountered someone, a <mark>shopgirl</mark>, in a glove <mark>shop</mark>, realizing he had no social means to propose to her.</summary>
|
||||
<p class="scene">And then Irving Carter, painter, millionaire, etc., felt a warm flush
|
||||
rise to his aristocratically pale face. But not from diffidence. The
|
||||
blush was intellectual in origin. He knew in a moment that he stood
|
||||
in the ranks of the ready-made youths who wooed the giggling girls at
|
||||
other counters. Himself leaned against the oaken trysting place of
|
||||
a cockney Cupid with a desire in his heart for the favor of a glove
|
||||
salesgirl. He was no more than Bill and Jack and Mickey. And then he
|
||||
felt a sudden tolerance for them, and an elating, courageous contempt
|
||||
for the conventions upon which he had fed, and an unhesitating
|
||||
determination to have this perfect creature for his own. When the gloves were paid for and wrapped Carter lingered for a
|
||||
moment. The dimples at the corners of Masie's damask mouth deepened.
|
||||
All gentlemen who bought gloves lingered in just that way. She curved
|
||||
an arm, showing like Psyche's through her shirt-waist sleeve, and
|
||||
rested an elbow upon the show-case edge. Carter had never before encountered a situation of which he had not
|
||||
been perfect master. But now he stood far more awkward than Bill
|
||||
or Jack or Mickey. He had no chance of meeting this beautiful girl
|
||||
socially. His mind …</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>Someone desires to charm a <mark>shopgirl</mark> despite feeling out of place.</p><label><input type="radio" name="p17" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>A man struggling with his pride and social conventions finds himself awkwardly drawn to a <mark>shopgirl</mark>, determined to win her favor despite his usual confidence.</p><label><input type="radio" name="p17" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p17" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="18">
|
||||
<header><span class="n">19</span> <b>A LICKPENNY LOVER</b></header>
|
||||
<details><summary>Scene summary: Someone, a lady in her late twenties, diplomatically turns down a man's romantic overtures while subtly arranging a clandestine meeting with him.</summary>
|
||||
<p class="scene">"Will you please pardon me," he said, "if I seem too bold; but I
|
||||
earnestly hope you will allow me the pleasure of seeing you again.
|
||||
There is my name; I assure you that it is with the greatest respect
|
||||
that I ask the favor of becoming one of your fr--acquaintances. May
|
||||
I not hope for the privilege?" Masie knew men--especially men who buy gloves. Without hesitation she
|
||||
looked him frankly and smilingly in the eyes, and said: "Sure. I guess you're all right. I don't usually go out with strange
|
||||
gentlemen, though. It ain't quite ladylike. When should you want to
|
||||
see me again?" "As soon as I may," said Carter. "If you would allow me to call at
|
||||
your home, I--" Masie laughed musically. "Oh, gee, no!" she said, emphatically. "If
|
||||
you could see our flat once! There's five of us in three rooms. I'd
|
||||
just like to see ma's face if I was to bring a gentleman friend
|
||||
there!" "Anywhere, then," said the enamored Carter, "that will be convenient
|
||||
to you." "Say," suggested Masie, with a bright-idea look in her peach-blow
|
||||
face; "I guess Thursday night will about suit me. Suppose you come to
|
||||
the corner of Eighth Avenue and Forty-eighth Street at 7:30. I live
|
||||
right near the corner. But I've got to be back hom…</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>Willie nervously asked for her company, hoping she'd agree to a date.</p><label><input type="radio" name="p18" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>A young woman balances between curiosity and caution as she agrees to meet a man she barely knows, hoping to explore new possibilities without disappointing her family or losing her sense of self.</p><label><input type="radio" name="p18" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p18" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="19">
|
||||
<header><span class="n">20</span> <b>A LICKPENNY LOVER</b></header>
|
||||
<details><summary>Scene summary: Someone, a young man, eagerly awaits a date with a <mark>street</mark>-corner <mark>shopgirl</mark>, while his <mark>mother</mark> chauffeurs him to a fancy <mark>restaurant</mark>.</summary>
|
||||
<p class="scene">"Permission to call!" echoed small eyes, with a snigger. "Did he say
|
||||
anything about dinner in the Waldorf and a spin in his auto
|
||||
afterward?" "Oh, cheese it!" said Masie, wearily. "You've been used to swell
|
||||
things, I don't think. You've had a swelled head ever since that
|
||||
hose-cart driver took you out to a chop suey joint. No, he never
|
||||
mentioned the Waldorf; but there's a Fifth Avenue address on his
|
||||
card, and if he buys the supper you can bet your life there won't be
|
||||
no pigtail on the waiter what takes the order." As Carter glided away from the Biggest Store with his mother in his
|
||||
electric runabout, he bit his lip with a dull pain at his heart.
|
||||
He knew that love had come to him for the first time in all the
|
||||
twenty-nine years of his life. And that the object of it should make
|
||||
so readily an appointment with him at a street corner, though it was
|
||||
a step toward his desires, tortured him with misgivings. Carter did not know the shopgirl. He did not know that her home is
|
||||
often either a scarcely habitable tiny room or a domicile filled to
|
||||
overflowing with kith and kin. The street-corner is her parlor, the
|
||||
park is her drawing-room; the avenue is her garden walk; yet for the
|
||||
most part she is a…</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>Someone seeks love but fears rejection, while someone uses him to prove her worth.</p><label><input type="radio" name="p19" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>A man torn between his growing feelings for a woman he barely knows and his fear of losing control of his life struggles to navigate the uncertain path of love.</p><label><input type="radio" name="p19" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p19" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="20">
|
||||
<header><span class="n">21</span> <b>A LICKPENNY LOVER</b></header>
|
||||
<details><summary>Scene summary: Someone, a <mark>suitor</mark>, pressures someone into marriage, emphasizing his social superiority and wealth, while someone questions his sincerity and social status.</summary>
|
||||
<p class="scene">"Masie," said Carter, earnestly, "you surely know that I love you. I
|
||||
ask you sincerely to marry me. You know me well enough by this time
|
||||
to have no doubts of me. I want you, and I must have you. I care
|
||||
nothing for the difference in our stations." "What is the difference?" asked Masie, curiously. "Well, there isn't any," said Carter, quickly, "except in the minds
|
||||
of foolish people. It is in my power to give you a life of luxury. My
|
||||
social position is beyond dispute, and my means are ample." "They all say that," remarked Masie. "It's the kid they all give you.
|
||||
I suppose you really work in a delicatessen or follow the races. I
|
||||
ain't as green as I look." "I can furnish you all the proofs you want," said Carter, gently.
|
||||
"And I want you, Masie. I loved you the first day I saw you." "They all do," said Masie, with an amused laugh, "to hear 'em talk.
|
||||
If I could meet a man that got stuck on me the third time he'd seen
|
||||
me I think I'd get mashed on him." "Please don't say such things," pleaded Carter. "Listen to me, dear.
|
||||
Ever since I first looked into your eyes you have been the only woman
|
||||
in the world for me." "Oh, ain't you the kidder!" smiled Masie. "How many other girls did
|
||||
you ever tell…</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>Someone faces someone’s marriage proposal, wanting to see through his sincerity.</p><label><input type="radio" name="p20" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>A man insists a woman marry him, claiming his wealth and status make them equal, but she sees through his words and mocks his desperate, insincere pursuit.</p><label><input type="radio" name="p20" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p20" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="21">
|
||||
<header><span class="n">22</span> <b>A LICKPENNY LOVER</b></header>
|
||||
<details><summary>Scene summary: Someone persistently courted someone, a <mark>shopgirl</mark>, offering her a life of leisure in exotic locations to break her from her mundane existence.</summary>
|
||||
<p class="scene">But Carter persisted. And at length he reached the flimsy, fluttering
|
||||
little soul of the shopgirl that existed somewhere deep down in her
|
||||
lovely bosom. His words penetrated the heart whose very lightness was
|
||||
its safest armor. She looked up at him with eyes that saw. And a warm
|
||||
glow visited her cool cheeks. Tremblingly, awfully, her moth wings
|
||||
closed, and she seemed about to settle upon the flower of love. Some
|
||||
faint glimmer of life and its possibilities on the other side of her
|
||||
glove counter dawned upon her. Carter felt the change and crowded the
|
||||
opportunity. "Marry me, Masie," he whispered softly, "and we will go away from
|
||||
this ugly city to beautiful ones. We will forget work and business,
|
||||
and life will be one long holiday. I know where I should take you--I
|
||||
have been there often. Just think of a shore where summer is eternal,
|
||||
where the waves are always rippling on the lovely beach and the
|
||||
people are happy and free as children. We will sail to those shores
|
||||
and remain there as long as you please. In one of those far-away
|
||||
cities there are grand and lovely palaces and towers full of
|
||||
beautiful pictures and statues. The streets of the city are water,
|
||||
and one travels about in--" "I know,…</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>Someone looked up at someone, her eyes alight with a flicker of possibility.</p><label><input type="radio" name="p21" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>A man tries to convince a hesitant woman to leave her mundane life and embark on an extravagant, uncertain journey with him.</p><label><input type="radio" name="p21" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p21" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="22">
|
||||
<header><span class="n">23</span> <b>A LICKPENNY LOVER</b></header>
|
||||
<details><summary>Scene summary: Someone, cool in his authority, insists they leave while someone’s uncertain nature holds sway, hinting at her potential marriage proposal to someone’s friend.</summary>
|
||||
<p class="scene">"I think we had better be going home," she said, coolly. "It's
|
||||
getting late." Carter humored her. He had come to know her varying, thistle-down
|
||||
moods, and that it was useless to combat them. But he felt a certain
|
||||
happy triumph. He had held for a moment, though but by a silken
|
||||
thread, the soul of his wild Psyche, and hope was stronger within
|
||||
him. Once she had folded her wings and her cool hand had closed about
|
||||
his own. At the Biggest Store the next day Masie's chum, Lulu, waylaid her in
|
||||
an angle of the counter. "How are you and your swell friend making it? she asked. "Oh, him?" said Masie, patting her side curls. "He ain't in it any
|
||||
more. Say, Lu, what do you think that fellow wanted me to do?" "Go on the stage?" guessed Lulu, breathlessly. "Nit; he's too cheap a guy for that. He wanted me to marry him and go
|
||||
down to Coney Island for a wedding tour!" IV</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>She wants to end their secret affair, but he feels a hidden joy.</p><label><input type="radio" name="p22" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>A woman hides her growing feelings for a man while pretending to be uninterested, hoping to keep their connection without giving in to the possibility of love.</p><label><input type="radio" name="p22" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p22" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="23">
|
||||
<header><span class="n">24</span> <b>DOUGHERTY'S EYE-OPENER</b></header>
|
||||
<details><summary>Scene summary: Big someone coveted social acceptance from the titled nobility of someone’s sport world.</summary>
|
||||
<p class="scene">Big Jim Dougherty was a sport. He belonged to that race of men.
|
||||
In Manhattan it is a distinct race. They are the Caribs of the
|
||||
North--strong, artful, self-sufficient, clannish, honorable within
|
||||
the laws of their race, holding in lenient contempt neighboring
|
||||
tribes who bow to the measure of Society's tapeline. I refer, of
|
||||
course, to the titled nobility of sportdom. There is a class which
|
||||
bears as a qualifying adjective the substantive belonging to a wind
|
||||
instrument made of a cheap and base metal. But the tin mines of
|
||||
Cornwall never produced the material for manufacturing descriptive
|
||||
nomenclature for "Big Jim" Dougherty. The habitat of the sport is the lobby or the outside corner of
|
||||
certain hotels and combination restaurants and cafés. They are mostly
|
||||
men of different sizes, running from small to large; but they are
|
||||
unanimous in the possession of a recently shaven, blue-black cheek
|
||||
and chin and dark overcoats (in season) with black velvet collars. Of the domestic life of the sport little is known. It has been said
|
||||
that Cupid and Hymen sometimes take a hand in the game and copper the
|
||||
queen of hearts to lose. Daring theorists have averred--not content
|
||||
with simply saying--that a sport o…</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>Big someone sought acceptance in someone’s titled nobility of sportdom.</p><label><input type="radio" name="p23" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>Big someone must navigate the rigid codes of his underground world while seeking a way to break free and claim a life beyond the shadows.</p><label><input type="radio" name="p23" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p23" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="24">
|
||||
<header><span class="n">25</span> <b>DOUGHERTY'S EYE-OPENER</b></header>
|
||||
<details><summary>Scene summary: Big someone" attends social gatherings with his fellow someone, avoiding his <mark>wife</mark> at home.</summary>
|
||||
<p class="scene">But mostly the sport is Oriental. He believes his women-folk should
|
||||
not be too patent. Somewhere behind grilles or flower-ornamented fire
|
||||
escapes they await him. There, no doubt, they tread on rugs from
|
||||
Teheran and are diverted by the bulbul and play upon the dulcimer and
|
||||
feed upon sweetmeats. But away from his home the sport is an integer.
|
||||
He does not, as men of other races in Manhattan do, become the convoy
|
||||
in his unoccupied hours of fluttering laces and high heels that tick
|
||||
off delectably the happy seconds of the evening parade. He herds with
|
||||
his own race at corners, and delivers a commentary in his Carib lingo
|
||||
upon the passing show. "Big Jim" Dougherty had a wife, but he did not wear a button portrait
|
||||
of her upon his lapel. He had a home in one of those brown-stone,
|
||||
iron-railed streets on the west side that look like a recently
|
||||
excavated bowling alley of Pompeii. To this home of his Mr. Dougherty repaired each night when the hour
|
||||
was so late as to promise no further diversion in the arch domains
|
||||
of sport. By that time the occupant of the monogamistic harem would
|
||||
be in dreamland, the bulbul silenced and the hour propitious for
|
||||
slumber. "Big Jim" always arose at twelve, meridian,…</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>He seeks a private life away from his public Oriental sport, yet feels trapped in public life.</p><label><input type="radio" name="p24" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>A man struggles to balance his cultural identity and personal life while navigating the expectations of his community and the quiet routine of his domestic existence.</p><label><input type="radio" name="p24" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p24" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="25">
|
||||
<header><span class="n">26</span> <b>DOUGHERTY'S EYE-OPENER</b></header>
|
||||
<details><summary>Scene summary: Big someone" someone reluctantly agreed to go out for <mark>dinner</mark> after his <mark>wife</mark> insisted, challenging his usual reluctance to leave the <mark>house</mark>.</summary>
|
||||
<p class="scene">"Big Jim" Dougherty even listened to this conversation of hers
|
||||
sometimes. He knew that she would have a nice dinner ready for him
|
||||
every evening at seven when he came for it. She sometimes went to
|
||||
matinées, and she had a talking machine with six dozen records. Once
|
||||
when her Uncle Amos blew in on a wind from up-state, she went with
|
||||
him to the Eden Musée. Surely these things were diversions enough for
|
||||
any woman. One afternoon Mr. Dougherty finished his breakfast, put on his hat
|
||||
and got away fairly for the door. When his hand was on the knob be
|
||||
heard his wife's voice. "Jim," she said, firmly, "I wish you would take me out to dinner this
|
||||
evening. It has been three years since you have been outside the door
|
||||
with me." "Big Jim" was astounded. She had never asked anything like this
|
||||
before. It had the flavour of a totally new proposition. But he was a
|
||||
game sport. "All right," he said. "You be ready when I come at seven. None of
|
||||
this 'wait two minutes till I primp an hour or two' kind of business,
|
||||
now, Dele." "I'll be ready," said his wife, calmly. At seven she descended the stone steps in the Pompeian bowling alley
|
||||
at the side of "Big Jim" Dougherty. She wore a dinner gown made of
|
||||
a stuff t…</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>Big someone" expected her to ask for a <mark>dinner</mark> date, not insist on one.</p><label><input type="radio" name="p25" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>A man accustomed to routine is confronted with an unexpected request for companionship, forcing him to reconsider the balance between habit and connection.</p><label><input type="radio" name="p25" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p25" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="26">
|
||||
<header><span class="n">27</span> <b>DOUGHERTY'S EYE-OPENER</b></header>
|
||||
<details><summary>Scene summary: Big someone, unsure of his new <mark>wife</mark>'s identity, decided to flaunt her at his usual haunts to impress his social circle.</summary>
|
||||
<p class="scene">"Big Jim" Dougherty was troubled. There was a being at his side whom
|
||||
he did not know. He thought of the sober-hued plumage that this bird
|
||||
of paradise was accustomed to wear in her cage, and this winged
|
||||
revelation puzzled him. In some way she reminded him of the Delia
|
||||
Cullen that he had married four years before. Shyly and rather
|
||||
awkwardly he stalked at her right hand. "After dinner I'll take you back home, Dele," said Mr. Dougherty,
|
||||
"and then I'll drop back up to Seltzer's with the boys. You can have
|
||||
swell chuck to-night if you want it. I made a winning on Anaconda
|
||||
yesterday; so you can go as far as you like." Mr. Dougherty had intended to make the outing with his unwonted wife
|
||||
an inconspicuous one. Uxoriousness was a weakness that the precepts
|
||||
of the Caribs did not countenance. If any of his friends of the
|
||||
track, the billiard cloth or the square circle had wives they had
|
||||
never complained of the fact in public. There were a number of table
|
||||
d'hôte places on the cross streets near the broad and shining way;
|
||||
and to one of these he had purposed to escort her, so that the bushel
|
||||
might not be removed from the light of his domesticity. But while on the way Mr. Dougherty altered those inte…</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>Big someone wanted to hide his <mark>wife</mark>'s presence, but a mysterious bird-like being at her side made him change plans.</p><label><input type="radio" name="p26" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>A man struggling to reconcile his desire to display his <mark>wife</mark> publicly with his fear of judgment finds himself torn between pride and secrecy.</p><label><input type="radio" name="p26" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p26" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="27">
|
||||
<header><span class="n">28</span> <b>DOUGHERTY'S EYE-OPENER</b></header>
|
||||
<details><summary>Scene summary: Seltzer's tribal gentlemen watch as someone and his <mark>wife</mark> someone enter, impressed but wary, while the guests enjoy a lively meal.</summary>
|
||||
<p class="scene">The congregation of smooth-faced tribal gentlemen were on watch at
|
||||
Seltzer's. As Mr. Dougherty and his reorganized Delia passed they
|
||||
stared, momentarily petrified, and then removed their hats--a
|
||||
performance as unusual to them as was the astonishing innovation
|
||||
presented to their gaze by "Big Jim". On the latter gentleman's
|
||||
impassive face there appeared a slight flicker of triumph--a faint
|
||||
flicker, no more to be observed than the expression called there by
|
||||
the draft of little casino to a four-card spade flush. Hoogley's was animated. Electric lights shone as, indeed, they were
|
||||
expected to do. And the napery, the glassware and the flowers also
|
||||
meritoriously performed the spectacular duties required of them. The
|
||||
guests were numerous, well-dressed and gay. A waiter--not necessarily obsequious--conducted "Big Jim" Dougherty
|
||||
and his wife to a table. "Play that menu straight across for what you like, Dele," said "Big
|
||||
Jim." "It's you for a trough of the gilded oats to-night. It strikes
|
||||
me that maybe we've been sticking too fast to home fodder." "Big Jim's" wife gave her order. He looked at her with respect. She
|
||||
had mentioned truffles; and he had not known that she knew what
|
||||
truffles were. F…</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>Big someone seeks to impress his <mark>wife</mark> at a fancy <mark>restaurant</mark>, hoping her beauty and charm will win him praise.</p><label><input type="radio" name="p27" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>A man struggles to reconcile his pride with the growing awareness of his <mark>wife</mark>'s hidden talents and the shame of having underestimated her.</p><label><input type="radio" name="p27" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p27" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="28">
|
||||
<header><span class="n">29</span> <b>DOUGHERTY'S EYE-OPENER</b></header>
|
||||
<details><summary>Scene summary: The Honorable someone, seeking to impress, engages the reluctant someone in a lively conversation, transforming her into the center of attention as other politicians and acquaintances arrive.</summary>
|
||||
<p class="scene">But when the Honorable Patrick Corrigan, leader in Dougherty's
|
||||
district and a friend of his, saw them and came over to the table,
|
||||
matters got to the three-quarter stretch. The Honorable Patrick was a
|
||||
gallant man, both in deeds and words. As for the Blarney stone, his
|
||||
previous actions toward it must have been pronounced. Heavy damages
|
||||
for breach of promise could surely have been obtained had the Blarney
|
||||
stone seen fit to sue the Honorable Patrick. "Jimmy, old man!" he called; he clapped Dougherty on the back; he
|
||||
shone like a midday sun upon Delia. "Honorable Mr. Corrigan--Mrs. Dougherty," said "Big Jim." The Honorable Patrick became a fountain of entertainment and
|
||||
admiration. The waiter had to fetch a third chair for him; he made
|
||||
another at the table, and the wineglasses were refilled. "You selfish old rascal!" he exclaimed, shaking an arch finger at
|
||||
"Big Jim," "to have kept Mrs. Dougherty a secret from us." And then "Big Jim" Dougherty, who was no talker, sat dumb, and saw
|
||||
the wife who had dined every evening for three years at home, blossom
|
||||
like a fairy flower. Quick, witty, charming, full of light and ready
|
||||
talk, she received the experienced attack of the Honorable Patrick on
|
||||
the…</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>The honorable someone seeks to expose a secret and win someone’s heart, while "Big someone" struggles to keep up.</p><label><input type="radio" name="p28" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>A man struggles to reconcile his quiet life with the sudden, overwhelming attention his <mark>wife</mark> receives, threatening to expose the hidden depths of their marriage.</p><label><input type="radio" name="p28" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p28" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="29">
|
||||
<header><span class="n">30</span> <b>DOUGHERTY'S EYE-OPENER</b></header>
|
||||
<details><summary>Scene summary: The Honorable someone, seeking to impress someone, attempts to seduce her, leading to a confrontation and a decision to take her to a pub instead.</summary>
|
||||
<p class="scene">The dinner came to an end. The Honorable Patrick reached for Mrs.
|
||||
Dougherty's cloak; but that was a matter of action instead of words,
|
||||
and Dougherty's big hand got it first by two seconds. While the farewells were being said at the door the Honorable Patrick
|
||||
smote Dougherty mightily between the shoulders. "Jimmy, me boy," he declared, in a giant whisper, "the madam is a
|
||||
jewel of the first water. Ye're a lucky dog." "Big Jim" walked homeward with his wife. She seemed quite as
|
||||
pleased with the lights and show windows in the streets as with the
|
||||
admiration of the men in Hoogley's. As they passed Seltzer's they
|
||||
heard the sound of many voices in the café. The boys would be
|
||||
starting the drinks around now and discussing past performances. At the door of their home Delia paused. The pleasure of the outing
|
||||
radiated softly from her countenance. She could not hope for Jim of
|
||||
evenings, but the glory of this one would lighten her lonely hours
|
||||
for a long time. "Thank you for taking me out, Jim," she said, gratefully. "You'll be
|
||||
going back up to Seltzer's now, of course." "To ---- with Seltzer's," said "Big Jim," emphatically. "And d----
|
||||
Pat Corrigan! Does he think I haven't got any eyes?" And the…</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>Someone seeks to impress someone with a bold gesture, but is thwarted by her quicker action.</p><label><input type="radio" name="p29" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>A man struggles to maintain his pride and dignity after a public embarrassment, while trying to preserve his relationship and quiet his <mark>wife</mark>'s growing happiness.</p><label><input type="radio" name="p29" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p29" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="30">
|
||||
<header><span class="n">31</span> <b>DOUGHERTY'S EYE-OPENER</b></header>
|
||||
<details><summary>Scene summary: The <mark>bride</mark> desires a peach from her distant <mark>lover</mark>, while he holds power over her marriage and her desires.</summary>
|
||||
<p class="scene">The bride sat in the rocker with her feet resting upon the world. She
|
||||
was wrapt in rosy dreams and a kimono of the same hue. She wondered
|
||||
what the people in Greenland and Tasmania and Beloochistan were
|
||||
saying one to another about her marriage to Kid McGarry. Not that it
|
||||
made any difference. There was no welter-weight from London to the
|
||||
Southern Cross that could stand up four hours--no; four rounds--with
|
||||
her bridegroom. And he had been hers for three weeks; and the crook
|
||||
of her little finger could sway him more than the fist of any
|
||||
142-pounder in the world. Love, when it is ours, is the other name for self-abnegation and
|
||||
sacrifice. When it belongs to people across the airshaft it means
|
||||
arrogance and self-conceit. The bride crossed her oxfords and looked thoughtfully at the
|
||||
distemper Cupids on the ceiling. "Precious," said she, with the air of Cleopatra asking Antony for
|
||||
Rome done up in tissue paper and delivered at residence, "I think
|
||||
I would like a peach." Kid McGarry arose and put on his coat and hat. He was serious,
|
||||
shaven, sentimental, and spry. "All right," said he, as coolly as though he were only agreeing to
|
||||
sign articles to fight the champion of England. "I'll step down and
|
||||
…</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>The <mark>bride</mark> desires her <mark>husband</mark>'s affection, yet fears losing him to distant admirers.</p><label><input type="radio" name="p30" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>A woman trapped in a love that bends her will longs for a simple peach, while her powerful but obedient <mark>husband</mark> struggles to fulfill her wish in a world that resists giving way.</p><label><input type="radio" name="p30" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p30" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="31">
|
||||
<header><span class="n">32</span> <b>DOUGHERTY'S EYE-OPENER</b></header>
|
||||
<details><summary>Scene summary: The Kid seeks a peach for a <mark>lover</mark>, vying with a fruit vendor and a reluctant someone, who ultimately agrees to find oranges instead.</summary>
|
||||
<p class="scene">"Gotta da peach?" asked the Kid in the tongue of Dante, the lover of
|
||||
lovers. "Ah, no,--" sighed the vender. "Not for one mont com-a da peach. Too
|
||||
soon. Gotta da nice-a orange. Like-a da orange?" Scornful, the Kid pursued his quest. He entered the all-night
|
||||
chop-house, café, and bowling-alley of his friend and admirer, Justus
|
||||
O'Callahan. The O'Callahan was about in his institution, looking for
|
||||
leaks. "I want it straight," said the Kid to him. "The old woman has got a
|
||||
hunch that she wants a peach. Now, if you've got a peach, Cal, get it
|
||||
out quick. I want it and others like it if you've got 'em in plural
|
||||
quantities." "The house is yours," said O'Callahan. "But there's no peach in it.
|
||||
It's too soon. I don't suppose you could even find 'em at one of the
|
||||
Broadway joints. That's too bad. When a lady fixes her mouth for a
|
||||
certain kind of fruit nothing else won't do. It's too late now to
|
||||
find any of the first-class fruiterers open. But if you think the
|
||||
missis would like some nice oranges I've just got a box of fine ones
|
||||
in that she might--" "Much obliged, Cal. It's a peach proposition right from the ring of
|
||||
the gong. I'll try further." The time was nearly midnight as the Kid walked down the…</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>The Kid seeks a peach but finds oranges instead, rushing to a fruiterer just as the lights go out.</p><label><input type="radio" name="p31" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>The Kid needs to find a peach for a woman who insists on it, but every vendor says it's too soon and offers only oranges instead.</p><label><input type="radio" name="p31" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p31" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="32">
|
||||
<header><span class="n">33</span> <b>DOUGHERTY'S EYE-OPENER</b></header>
|
||||
<details><summary>Scene summary: The Kid seeks employment, while the <mark>Captain</mark> of Police considers helping him infiltrate gambling den someone’s, despite previous conflicts.</summary>
|
||||
<p class="scene">"Peaches?" said he, with extreme deliberation. "Well, no, Sir. Not for three or four weeks yet. I haven't any idea
|
||||
where you might find some. There may be a few in town from under
|
||||
the glass, but they'd be hard to locate. Maybe at one of the more
|
||||
expensive hotels--some place where there's plenty of money to waste.
|
||||
I've got some very fine oranges, though--from a shipload that came in
|
||||
to-day." The Kid lingered on the corner for a moment, and then set out briskly
|
||||
toward a pair of green lights that flanked the steps of a building
|
||||
down a dark side street. "Captain around anywhere?" he asked of the desk sergeant of the
|
||||
police station. At that moment the captain came briskly forward from the rear. He was
|
||||
in plain clothes and had a busy air. "Hello, Kid," he said to the pugilist. "Thought you were
|
||||
bridal-touring? "Got back yesterday. I'm a solid citizen now. Think I'll take an
|
||||
interest in municipal doings. How would it suit you to get into
|
||||
Denver Dick's place to-night, Cap? "Past performances," said the captain, twisting his moustache.
|
||||
"Denver was closed up two months ago." "Correct," said the Kid. "Rafferty chased him out of the Forty-third.
|
||||
He's running in your precinct now, and his game'…</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>Kid seeks to infiltrate someone’s gambling den but finds it closed, needing help from the <mark>captain</mark>.</p><label><input type="radio" name="p32" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>The Kid needs to convince the <mark>captain</mark> to raid a gambling den controlled by an old enemy, but he must do so quickly before the enemy discovers his betrayal.</p><label><input type="radio" name="p32" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p32" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="33">
|
||||
<header><span class="n">34</span> <b>DOUGHERTY'S EYE-OPENER</b></header>
|
||||
<details><summary>Scene summary: The <mark>captain</mark> and his dozen men, led by the Kid, raided a dark building, encountering a heated game of chance and a <mark>rival</mark> gang, before capturing the premises.</summary>
|
||||
<p class="scene">Before ten minutes had sped the captain with a dozen men stole with
|
||||
their guide into the hallway of a dark and virtuous-looking building
|
||||
in which many businesses were conducted by day. "Third floor, rear," said the Kid, softly. "I'll lead the way." Two axemen faced the door that he pointed out to them. "It seems all quiet," said the captain, doubtfully. "Are you sure
|
||||
your tip is straight?" "Cut away!" said the Kid. "It's on me if it ain't." The axes crashed through the as yet unprotected door. A blaze of
|
||||
light from within poured through the smashed panels. The door fell,
|
||||
and the raiders sprang into the room with their guns handy. The big room was furnished with the gaudy magnificence dear to Denver
|
||||
Dick's western ideas. Various well-patronized games were in progress.
|
||||
About fifty men who were in the room rushed upon the police in a
|
||||
grand break for personal liberty. The plain-clothes men had to do a
|
||||
little club-swinging. More than half the patrons escaped. Denver Dick had graced his game with his own presence that night.
|
||||
He led the rush that was intended to sweep away the smaller body of
|
||||
raiders, But when he saw the Kid his manner became personal. Being
|
||||
in the heavyweight class he ca…</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>The <mark>captain</mark> seeks to lead a raid, but doubts success as the Kid's plan unfolds.</p><label><input type="radio" name="p33" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>A man must prove his worth in a dangerous confrontation to claim a prize he's risking everything for.</p><label><input type="radio" name="p33" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p33" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="34">
|
||||
<header><span class="n">35</span> <b>DOUGHERTY'S EYE-OPENER</b></header>
|
||||
<details><summary>Scene summary: The Kid demands control of a lavish <mark>dinner</mark> <mark>party</mark>, suspects theft, and retrieves the last peach, threatening violence if it happens again.</summary>
|
||||
<p class="scene">Here was a long table set with choicest chinaware and silver, and
|
||||
lavishly furnished with food of that expensive and spectacular sort
|
||||
of which the devotees of sport are supposed to be fond. Here again
|
||||
was to be perceived the liberal and florid taste of the gentleman
|
||||
with the urban cognomenal prefix. A No. 10 patent leather shoe protruded a few of its inches outside
|
||||
the tablecloth along the floor. The Kid seized this and plucked forth
|
||||
a black man in a white tie and the garb of a servitor. "Get up!" commanded the Kid. "Are you in charge of this free lunch?" "Yes, sah, I was. Has they done pinched us ag'in, boss?" "Looks that way. Listen to me. Are there any peaches in this layout?
|
||||
If there ain't I'll have to throw up the sponge." "There was three dozen, sah, when the game opened this evenin'; but
|
||||
I reckon the gentlemen done eat 'em all up. If you'd like to eat a
|
||||
fust-rate orange, sah, I kin find you some." "Get busy," ordered the Kid, sternly, "and move whatever peach crop
|
||||
you've got quick or there'll be trouble. If anybody oranges me again
|
||||
to-night, I'll knock his face off." The raid on Denver Dick's high-priced and prodigal luncheon revealed
|
||||
one lone, last peach that had escaped th…</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>The Kid seeks a last peach at a lavish <mark>dinner</mark>, fearing theft, while authorities arrive.</p><label><input type="radio" name="p34" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>A man desperate to find a peach before it's too late races against time and rivals to secure his prize before it vanishes entirely.</p><label><input type="radio" name="p34" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p34" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="35">
|
||||
<header><span class="n">36</span> <b>DOUGHERTY'S EYE-OPENER</b></header>
|
||||
<details><summary>Scene summary: The Knight returns to someone with a stolen peach for his <mark>bride</mark>, who prefers an orange.</summary>
|
||||
<p class="scene">His heart was light as he went. So rode the knights back to Camelot
|
||||
after perils and high deeds done for their ladies fair. The Kid's
|
||||
lady had commanded him and he had obeyed. True, it was but a peach
|
||||
that she had craved; but it had been no small deed to glean a peach
|
||||
at midnight from that wintry city where yet the February snows lay
|
||||
like iron. She had asked for a peach; she was his bride; in his
|
||||
pocket the peach was warming in his hand that held it for fear that
|
||||
it might fall out and be lost. On the way the Kid turned in at an all-night drug store and said to
|
||||
the spectacled clerk: "Say, sport, I wish you'd size up this rib of mine and see if it's
|
||||
broke. I was in a little scrap and bumped down a flight or two of
|
||||
stairs." The druggist made an examination. "It isn't broken," was his
|
||||
diagnosis, "but you have a bruise there that looks like you'd fallen
|
||||
off the Flatiron twice." "That's all right," said the Kid. "Let's have your clothesbrush,
|
||||
please." The bride waited in the rosy glow of the pink lamp shade. The
|
||||
miracles were not all passed away. By breathing a desire for some
|
||||
slight thing--a flower, a pomegranate, a--oh, yes, a peach--she could
|
||||
send forth her man into the night, into th…</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>The Kid seeks to please his <mark>bride</mark> by delivering a requested peach, despite its trivial nature.</p><label><input type="radio" name="p35" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>He risks danger to fetch a trivial gift for his <mark>bride</mark>, only to find her preference has changed.</p><label><input type="radio" name="p35" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p35" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="36">
|
||||
<header><span class="n">37</span> <b>THE HARBINGER</b></header>
|
||||
<details><summary>Scene summary: The city <mark>editor</mark> reads news from across the country while the farmer sees only winter on his fields, unaware that someone’s search for someone signals the arrival of spring.</summary>
|
||||
<p class="scene">Long before the springtide is felt in the dull bosom of the yokel
|
||||
does the city man know that the grass-green goddess is upon her
|
||||
throne. He sits at his breakfast eggs and toast, begirt by stone
|
||||
walls, opens his morning paper and sees journalism leave vernalism
|
||||
at the post. For, whereas, spring's couriers were once the evidence of our finer
|
||||
senses, now the Associated Press does the trick. The warble of the first robin in Hackensack, the stirring of the
|
||||
maple sap in Bennington, the budding of the pussy willows along Main
|
||||
Street in Syracuse, the first chirp of the bluebird, the swan song of
|
||||
the Blue Point, the annual tornado in St. Louis, the plaint of the
|
||||
peach pessimist from Pompton, N. J., the regular visit of the tame
|
||||
wild goose with a broken leg to the pond near Bilgewater Junction,
|
||||
the base attempt of the Drug Trust to boost the price of quinine
|
||||
foiled in the House by Congressman Jinks, the first tall poplar
|
||||
struck by lightning and the usual stunned picknickers who had taken
|
||||
refuge, the first crack of the ice jam in the Allegheny River, the
|
||||
finding of a violet in its mossy bed by the correspondent at Round
|
||||
Corners--these are the advance signs of the burgeoning season that
|
||||
are w…</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>Stuck in stone walls, city man craves nature's first signs to confirm spring's arrival.</p><label><input type="radio" name="p36" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>A man trapped in the monotony of city life longs for the genuine signs of spring, but finds only artificial reports replacing nature's quiet signals.</p><label><input type="radio" name="p36" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p36" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="37">
|
||||
<header><span class="n">38</span> <b>THE HARBINGER</b></header>
|
||||
<details><summary>Scene summary: Someone, desperate for his <mark>wife</mark>'s dollar, conspires with someone and someone to steal it from their married friends in Union <mark>Square</mark>.</summary>
|
||||
<p class="scene">Ere the first violet blew, Mr. Peters, Mr. Ragsdale and Mr. Kidd sat
|
||||
together on a bench in Union Square and conspired. Mr. Peters was the
|
||||
D'Artagnan of the loafers there. He was the dingiest, the laziest,
|
||||
the sorriest brown blot against the green background of any bench in
|
||||
the park. But just then he was the most important of the trio. Mr. Peters had a wife. This had not heretofore affected his standing
|
||||
with Ragsy and Kidd. But to-day it invested him with a peculiar
|
||||
interest. His friends, having escaped matrimony, had shown a
|
||||
disposition to deride Mr. Peters for his venture on that troubled
|
||||
sea. But at last they had been forced to acknowledge that either
|
||||
he had been gifted with a large foresight or that he was one of
|
||||
Fortune's lucky sons. For, Mrs. Peters had a dollar. A whole dollar bill, good and
|
||||
receivable by the Government for customs, taxes and all public
|
||||
dues. How to get possession of that dollar was the question up for
|
||||
discussion by the three musty musketeers. "How do you know it was a dollar?" asked Ragsy, the immensity of the
|
||||
sum inclining him to scepticism. "The coalman seen her have it," said Mr. Peters. "She went out
|
||||
and done some washing yesterday. And look what she gi…</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>Someone wants the dollar his <mark>wife</mark> has, but fears losing face among friends.</p><label><input type="radio" name="p37" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>Three men plot to steal a dollar from someone’s <mark>wife</mark>, who unknowingly possesses it, forcing him to confront his friends' greed and protect her from their violent intentions.</p><label><input type="radio" name="p37" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p37" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="38">
|
||||
<header><span class="n">39</span> <b>THE HARBINGER</b></header>
|
||||
<details><summary>Scene summary: Someone threatens to leave someone to seek payment from their adulterous <mark>daughter</mark>-in-law someone.</summary>
|
||||
<p class="scene">"Maguire," said Ragsy, pointedly, "has got his bock beer sign out. If
|
||||
we had a dollar we could--" "Hush up!" said Mr. Peters, licking his lips. "We got to get that
|
||||
case note somehow, boys. Ain't what's a man's wife's his? Leave it to
|
||||
me. I'll go over to the house and get it. Wait here for me." "I've seen 'em give up quick, and tell you where it's hid if you kick
|
||||
'em in the ribs," said Kidd. "No man would kick a woman," said Peters, virtuously. "A little
|
||||
choking--just a touch on the windpipe--that gets away with 'em--and
|
||||
no marks left. Wait for me. I'll bring back that dollar, boys." High up in a tenement-house between Second Avenue and the river lived
|
||||
the Peterses in a back room so gloomy that the landlord blushed to
|
||||
take the rent for it. Mrs. Peters worked at sundry times, doing odd
|
||||
jobs of scrubbing and washing. Mr. Peters had a pure, unbroken record
|
||||
of five years without having earned a penny. And yet they clung
|
||||
together, sharing each other's hatred and misery, being creatures
|
||||
of habit. Of habit, the power that keeps the earth from flying to
|
||||
pieces; though there is some silly theory of gravitation. Mrs. Peters reposed her 200 pounds on the safer of the two chairs and
|
||||
gazed stoli…</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>Someone wants the dollar, but someone plans to get the case note instead.</p><label><input type="radio" name="p38" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>Someone must steal a case note from his <mark>wife</mark>'s hidden stash to buy a dollar for beer, but he refuses to harm her despite his desperation.</p><label><input type="radio" name="p38" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p38" value="n"> neither is a predicament</label>
|
||||
</section><section data-i="39">
|
||||
<header><span class="n">40</span> <b>THE HARBINGER</b></header>
|
||||
<details><summary>Scene summary: Someone calculated someone’s distance, eyeing her as a potential victim for his planned blackmail.</summary>
|
||||
<p class="scene">Mr. Peters's eye calculated the distance between them. By taking her
|
||||
by surprise it might be possible to spring upon her, overthrow her,
|
||||
and apply the throttling tactics of which he had boasted to his
|
||||
waiting comrades. True, it had been only a boast; never yet had he
|
||||
dared to lay violent hands upon her; but with the thoughts of the
|
||||
delicious, cool bock or Culmbacher bracing his nerves, he was near
|
||||
to upsetting his own theories of the treatment due by a gentleman
|
||||
to a lady. But, with his loafer's love for the more artistic and
|
||||
less strenuous way, he chose diplomacy first, the high card in the
|
||||
game--the assumed attitude of success already attained. "You have a dollar," he said, loftily, but significantly in the tone
|
||||
that goes with the lighting of a cigar--when the properties are at
|
||||
hand. "I have," said Mrs. Peters, producing the bill from her bosom and
|
||||
crackling it, teasingly. "I am offered a position in a--in a tea store," said Mr. Peters. "I
|
||||
am to begin work to-morrow. But it will be necessary for me to buy a
|
||||
pair of--" "You are a liar," said Mrs. Peters, reinterring the note. "No tea
|
||||
store, nor no A B C store, nor no junk shop would have you. I rubbed
|
||||
the skin off both me hands wa…</p></details>
|
||||
<div class="pair"><div class="pred"><span class="who">qwen2.5:3b-instruct</span><p>Someone schemes to charm someone away from a tea job, while she resists with a tough stance.</p><label><input type="radio" name="p39" value="0"> better</label></div><div class="pred"><span class="who">qwen3:14b</span><p>A man trying to manipulate a woman with false promises faces her sharp rejection and must find another way to achieve his goal.</p><label><input type="radio" name="p39" value="1"> better</label></div></div>
|
||||
<label class="both"><input type="radio" name="p39" value="n"> neither is a predicament</label>
|
||||
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|
||||
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|
||||
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|
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Reference in New Issue
Block a user