text:
"Well, in layman's terms I can honestly say that I have no idea what it is"
I sighed, pinching the bridge of my nose, not bothering to mask my dissatisfaction in front of the Professor "Can you explain to me what data you have in scientific terms?"  I asked irritably
The scientist nodded, his bald head shining in the floodlights in the cave. "Certainly" he said as he picked up a data pad "The composition of the device is a complex mineral containing both organic and inorganic elements, only a few of which we can readily identify. The rest are totally new to us. We do   know that it gives off very faint electromagnetic signals. Remarkably the frequency seems to shift randomly, going from infra-red and radio waves, down to the UV spectrum. So far the analysis of these signals has yielded negligible results. Sometimes we detect slight magnetic fields, coming from it and sometimes we don't. The origin of the  structure, the nature of its shape, its purpose, its power source (if any), its cultural significance, the means of its construction, and most importantly, what it does, are beyond  current comprehension due to  all our extensive experiments being completely inconclusive"
I groaned "So, in other words..."
"We have no damn clue what this thing is" The Professor finished, wiping his head with a damp cloth.
"Seriously this thing could be anything, maybe  a xeno construct, or something from the lost colonies, whatever it is, it's old,  it’s been in this hole for a least six millennium, and is most likely much older than that"
I walked around the structure, set into the ground of the cave... well it wasn't a cave exactly; a cave implies an opening, something that can be accessed naturally. Not this place. I guess the best word to describe it is as a cavern, a deep dark hollow, inexplicably existing almost a mile beneath the surface of Hupp,   the official designation given to both the mining colony and the planet upon it resides.

 I took a closer look at the object, brushing a strand of black hair away from my eyes. I needed to get it cut, but outside of Sol, good barbers were hard to find and I didn’t trust Xeno barbers, mostly because the majority of them do not have hair , and are not used to shaping it,  plus most of them have horrible fashion sense.
"So, remind me, Professor Gunnson, what does this place mine again?"

“Well, this particular colony rests over a rich ore of the mineral Cooperite, which contains palladium and Platinum, quite common for an Outer-world on this Spiral. Hupp-town (what the miners call their colony) primarily works with the extraction of the ore, but it is shipped off to the Central Hub of this Solar System to be refined.
"And how long has this mine been operational?"

"Ah...roughly 20 years, in earth time of course, Mr. Demmit"
 "Soooo" I began " Why  is it that  a sophisticated mining operation like this,  with over a decade’s experience working this patch of dirt, no doubt performing countless sonar and thermal underground imaging, had no idea that this place  existed until they  physically broke into it?"

Gunnson shrugged his shoulders, 'That's another mystery, I guess. The funny thing is, after this place was found, subsequent imaging actually mapped out this very room, despite identical previous scans being unable to detect it. Perhaps it was some   sort of Obstruction field, made so that this cavern would be unidentifiable by any sort of scans unless physically broken into, which would support the idea of it being an alien device."

"Hmm" I said and started at the structure again. It was indeed a most strange thing.  It was completely black, darker than Obsidian, without pattern or variation and quite tall, at least six feet. Its shape (if it even had one) was undeniably strange; the closest approximation I can give is of a three dimensional paint splatter, a chaotic conglomeration of artistry and design. Spheres which curved away into trapezoidal ridges resting on tiny poles that should not have been able to support its weight. On its top  a split hollow that looked like a mouth  with mismatched triangular teeth, resting diagonally atop a cyclopean lump, from which strands of the material branched off to form animalistic  designs, such as claws  and wings, and disturbingly, a human face.
On one side, a variety of non-Euclidian shapes seemed to have been fused together, haphazardly, like a child’s tower of building blocks. It was an incomprehensible work, almost schizophrenic when you'd thought you understood the shape from looking at one part, it would connect to something completely different and incompatible to the previous segment you saw. This inconsistency carried over to its construction. In one light you would swear it gleamed like iron pained black, others it had the texture of   polished rock, and some had no texture at all, just the sheer blackness of it. Like the mysterious shapes, whenever you sought to find the join, where the two different materials met, you could not find it, the distinction melted the further you looked, with the only results being a headache.
There was an indescribable wrongness to it, like it was something that had no right existing.  Even if it had been resting out in the sunlight it would have looked simply weird, but down here, in the oppression of the cavern, with the floodlights throwing shadows onto the surrounding walls and stalactites, it looked especially creepy.
I pulled out a cigarette "Is it safe to smoke in here?" I asked.
Gunnson nodded "yes, we hooked up an extra ventilation fan in the chamber, though I would prefer it if you would refrain from doing so"
I lit up and took a drag, feeling a little calmer. The professor sighed.
"So...Mr. Demmit" The Professor broke the silence "Why exactly did the Institute send you here?"
I Looked at him "You received a transmission from the main office shortly before my arrival, what did it say?"
Gunnson frowned confusedly "Just that you were going to 'appraise' the artifact"
I nodded "Well, Professor, that's exactly what I do. Whenever something new is discovered (or claimed to be discovered), be it a new breed of Digworm in a R&D lab, a more efficient Warp-core in a parking garage, or an ancient ceremonial bowl from an archeological dig site, etcetera, the moment the Institute gets wind of it, they send me in to inspect it and then I advise them of what potential use they could receive from these discoveries."

"So, hypothetically speaking, if you were to make a judgment now, what would the fate of this artifact be?"
I shrugged "Probably be shipped off to a museum somewhere. Since it has no apparent cultural or historical significance, it would either be labeled as an ' unknown curio' or 'ancient outsider art'...though the discovery and research teams will be acknowledged and suitably rewarded" I added quickly, noticing the sudden shock on the professor's face.
The Professor smiled, visibly relaxing "Well, that's good to know"
"Yes, though I’m hoping it will not come to it. I must confess that this..." I gestured to the statue, "thing, greatly interests me, whilst there have been artifacts found in similar circumstances, none were like this. I...”
Suddenly a beeping sound came from the professor’s coat. "Excuse me" he said bashfully. He took out his holopojector and activated it. The gas particles fanned out and took on the shape of a Sondhar, a fur covered creature, with a mass of feelers on its head.  "Ah, Nul-Parast, Gunnson exclaimed
" what's the word?"
The Projection started talking. "None of the Old Songs mention any sort of artifact as the one we have found, and the Keepers of the Histories don't recognize it either so it's nothing from the Sondharian Empire."

The Professor grunted "Shame about that, I was banking on it, what about Que and Dox, they contact you yet"
the alien shook its head "I believe they are still doing research, though I will put them through to you the moment they have a lead" And with that the projection dissipated into a mist of glimmering particles.

The Professor tucked the device away again. "Sorry about that, you were saying?"

I cleared my throat “I was saying that I hope this artifact does turn out to have significant value to the Institute after all"   and to myself I thought inwardly.  The more valuable the find, the more I get paid, and I was hoping that this wasn't another dud. Its mysterious origins had certainly intrigued me, but the way this was going, it wasn't going to provide much of a paycheck.

The Professor grinned ruefully "We can but hope, how long will your appraisal period be?" He asked.
"One month, Earth Calendar, with additional time granted should I request it from the Institute and if they consent to it."
"Then we'd better get back to work then"
I smiled,  "seems that way, I'm going to need all your findings, and data you have gathered so far"
" Coming right up" said Gunnson.
I spent the rest of the day   reading over the data the Professor had provided; it had not been much help. Every test the scientists had preformed had spit up the exact same results, unknown or data not found. It was if the structure had simple appeared in this universe one day. Maybe someday someone could have discerned what it was, but the Institute never liked the phrase “someday” almost as much as they disliked “indefinite” or “worthless”. I sighed as I put the finishing line on my preliminary report.
Will require more time to gather additional data on the object. Additional data will be provided in future reports.
 I pressed send, and the holoboard blinked. The message had just entered the fold-space. I yawned and stepped out of the small study tent that had been erected. To my surprise, the cavern was empty, whilst earlier it had been crammed with workmen and scientists, now only the solitary figure of Professor Gunnson remained, sitting on a small fold out chair, with one hand holding drink. When he saw me he gave a small wave.
“How’d the report go?” he asked

“Fine, just gave them the data and my current opinion on the object, where’d everyone else go?” I asked, looking around.
Gunnson pointed upwards with his free hand “Back to the surface, it’s past nightfall now, though you can’t tell it from down here. I like to stay down overnights sometimes, whenever I go to a dig site, in case I get an urge to run a test during the night”
“Does that happen often?”
The Professor grinned “More often than you’d think, help yourself to a beer by the way, they’re little stale but nice and cold” He gestured to a cooler that rested at his feet.
I reached in and pulled out a bottle, I twisted the top off and took a swig. The Professor had been right, it was old, no doubt it had been come from earth itself, but it was ice cold and, man after an afternoon working it tasted almost new.  I smacked my lips “Thanks Professor”
“Oh please, call me Harold”
“Only if you call me Wade” I said as I took a seat next to him.
“So Wade, what’s your story” Harold asked “How did one like you become an “appraiser” for the Institute?”
I shrugged, “nothing special really, was born and raised on Earth, went to University in England got a masters in Commerce, you know the score.  I did some work as a head hunter for hiring agencies, you know, finding fresh new talent for their companies, was pretty good at it too.  One day the Institute offered me this job.  Naturally I took it at once. Ever since I was a little boy I had wanted to go into space, well I suppose everyone does really.
“Not me” The Professor interjected “Can’t stand space travel, never could. Even now, I need to anti-anxiety medication before I get on a craft, and God-forbid I should look out a window! Space always terrified me.”
“In what way?”  I asked curiously
“The blackness “The Professor replied “It’s seems so…hostile, you understand, I mean anything could be hiding in the darkness, and our worlds, everything we ever know and care for, are just pinpricks amongst the blackness”
I had to laugh. “I’m sorry” I said, stifling a remaining chuckle “But I mean "hiding in the blackness of space?". You got to admit, it sounds pretty silly”
Harold shrugged “maybe so but it still gives me the nerves. Anyway my story is a bit like yours really. Got a masters in Xeno archeology and studies, and got poached by the Institute, till I wound up here, nothing special really”

For a while we just sat and drank our beers in silence. I found myself staring at the statue again, something about it didn’t quite seem right.  Hadn’t   that wing been on the other side? And had that trapezoidal bit at the top always been there? And suddenly it hit me.
“Harold” I said “does that statue seemed to have changed shape to you?”   I asked.
The Professor laughed nervously. “I thought it was just  me , but yes, it seems to  sort of shift its configuration and shape every so often, sometimes it happens once a day, sometimes  every other hour!”

“Really?” I said in amazement, you’ve seen this happen?”
“Well… not seen per se, it just sort of...shifts, one minute it looks like one particular object, the next it’s …changed”
 “What about video footage?”

Harold shook his head “that’s the thing, after the first time it happened I set up a camera to record the statue. The next time it changed shape, I watched the footage, and found that the footage from before showed the statue in the *exact same shape*.  I tested all the cameras and found no faults; it was like something was actively retroactively changing all images of itself to suit its current one. I recorded it through five shape changes, every time I did, the previous footage would show the statue in its current state”
I gave a sigh “More mysteries” I yawned, I needed some shuteye. I stood up and stretched. “Where can I sleep around here?”
“There’s bunking on the surface, but the lift takes about half an hour to get there, alternatively, I set up a couple of cots in the  service tent.”
“That’ll suit me just fine” I said, heading towards the area.
“Good night and don’t let this place give you nightmares” the Professor called over jovially.
I laughed; “The statue is creepier than anything my mind can come up with” I chuckled as I headed inside, and lay down on the bed.

title: [ SFHR] The Shapeless thing Part 1

question: What does the story say about unknowns?

text: The answer should mention the inconclusive report from the Projection.

answer: The origin of the structure, the nature of its shape, its purpose, its power source, its cultural significance, its means of construction, and what it does are all unknown. It's also a mystery how the location was never discovered before. Every test the scientists performed resulted in the results "unknown" or "data not found". The Professor also fears that anything could be hiding out in the blackness of space. It is also a mystery how the object changes shape and retroactively changes images of itself as well.

answer: The object that the scientists are studying is a complete unknown. They have no idea what it is or what it does. They have no idea where it came from or what its purpose is. They have no idea what its power source is or what its cultural significance is. They have no idea how it was constructed or what it does.

answer: The object that the scientists are studying is a complete unknown. They have no idea what it is or what it does. They have no idea where it came from or what its purpose is. They have no idea what its power source is or what its cultural significance is. They have no idea how it was constructed or what it does.

text: The answer should mention the object's shifting shape.

text: The answer should mention that the object is a complete unknown to the scientists, but it's not an unknown to the narrator.

text: The answer should mention that the object is also an unknown because it changes shape.

text: The answer omits that the object is a shape shifter.

text: The answer should mention that the object changes shape without any warning.

text: It should be mentioned that the strange rock the scientists are studying seems to actively shift shapes.

text: The answer should mention the object's shifting shape and how there is no answer for that either.

text: It's omitted that since much is unknown about the object, the narrator isn't sure how much he'll be paid for his work on this finding.

answer: The origin of the structure, the nature of its shape, its purpose, its power source, its cultural significance, its means of construction, and what it does are all unknown. It's also a mystery how the location was never discovered before. The Projection that comes in reports that none of the Old Songs mention any artifact similar to the discovered one, nor is it recognized as being from the Sondharian Empire. Every test the scientists performed resulted in the results "unknown" or "data not found". The Professor also fears that anything could be hiding out in the blackness of space. It is also a mystery how the object changes shape and retroactively changes images of itself as well.

text: The composition of the device should be included in the answer

answer: The origin of the structure, the nature of its shape, its purpose, its power source, its cultural significance, its means of construction, and what it does are all unknown. It's also a mystery how the location was never discovered before. Every test the scientists performed resulted in the results "unknown" or "data not found". The Professor also fears that anything could be hiding out in the blackness of space. It is also a mystery how the object changes shape and retroactively changes images of itself as well.

text: The response includes extraneous information not useful for the task.

text: The last sentence is irrelevant.

text: The answer should mention that the object is a complete unknown.

text: It's more of a wonder that the mine couldn't scan the cavern than a mystery.

text: "retroactively changes images of itself as well" - the response should clarify that the shapeless thing can change its image on all the CCTV footage.

answer: The origin of the structure, the nature of its shape, its purpose, its power source, its cultural significance, its means of construction, and what it does are all unknown. It's also a mystery how the location was never discovered before. The Projection that comes in reports that none of the Old Songs mention any artifact similar to the discovered one, nor is it recognized as being from the Sondharian Empire. Every test the scientists performed resulted in the results "unknown" or "data not found". The Professor also fears that anything could be hiding out in the blackness of space. It is also a mystery how the object changes shape and retroactively changes images of itself as well.

text: The last sentence is unnecessary.

text: The answer should mention that the object is a mystery.

text: The answer should mention that the object is an unknown.

text: The response should mention that according to the narrator, the object would either be labeled "an unknown curio" or "ancient outsider art" and the discovery and research teams will be acknowledged after sending the object to a museum.

text: The response includes extraneous information not useful for the task, especially the latter part.


text:
I am only familiar with this term when I know about the anime.

-   Is this term only used in Japan?

Sometimes I read light novels on the internet but I never see the book myself. How is a light novel different from a regular novel? Except for light novels being... light, are there any other differences?

And usually I see the cover done in a manga-style drawing:

-   Are light novels used exclusively for anime or manga adaptations?
-   Are there any light novels that do not use manga-style drawings?

I tried to search "Light novel cover" and the result is as expected:

[Google Images results for "Light novel cover"]

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senshin♦

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asked Aug 7 '14 at 11:08

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DarjeelingDarjeeling

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What is a light novel?

A light novel is a style of Japanese novel targeting teenagers and young adults. These novels contain mostly illustrations in anime or manga style. They are usually published in _bunkobon_ size (A6 – 105 x 148mm). Light novels are not very long. The length is comparable to a novella in US publishing terms.

Light novels are very popular in Japan as you can see in Japanese bookstores.

[Japanese Bookstore]

Where does the term come from and what does it mean?

The word “light novel” is actually not an English word. It is a _wasei-eigo_ (literally translated “Japanese-made English”) which is a Japanese term formed from words in the English language.

The term is everywhere used where you read such novels. In Japan you will use the word _raito noberu_ (sometimes also _ranobe_ or _rainobe_ as an abbreviation) which is the Japanese term of light novel.

In the western culture light novels are normally called Japanese Novella.

What is the difference between a novel and a light novel?

In short: Light Novels are usually shorter and they also contain few illustrations. In addition they are easier to read. This is particular because the text contains much simpler and easier to read modern _kanji_.

The illustrations are mostly at the beginning of capitals or when a new characters respectively a new place is described. On the picture below you see an example on how a light novel is build up. Left an image from the scene and to the right the text to read.

[Example Page]

In typical light novels you will find mostly black and white illustrations. But today you also find many novels that include colored illustrations.

[Colored Illustration]

Why is a light novel styled like an anime or manga?

The reason because light novels are styled like anime or manga is because of their history and they are actually from Japan.

  Light novels are an evolution of pulp magazines. To please their audience, in the 1970s, most of the Japanese pulp magazines, which had already changed from the classic style to the popular anime style covers, began to put illustrations in the beginning of each story and included articles about popular movies, anime and video games.

  The narrative evolved to please the new generations and became fully illustrated with the popular style. The popular serials are printed in novels.

  In recent years, light novels' stories have been popular choices for adaptation into manga, anime, and live-action films, though in the case of the former two, usually only the first two novels are adapted.

Information\ from\ wikipedia,\ englishlightnovels,\ animanga.wikia,\ tvtropes.

Pictures\ from\ englishlightnovels,\ afrobonzai.unblog.

answered Aug 7 '14 at 14:07

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When referring to a novel, you'd be talking about...

  A fictitious prose narrative of book length, typically representing character and action with some degree of realism.

Therefore I always assumed a light novel to be a short story of sorts, something you could read on the bus or on the train. After looking it up, I was wrong. A light novel apparently is a Jenglish or wasei-eigo expression for a novella, which would be a short novel, but not as short as a short story according to it's wiki page.

So before I continue and answer your questions, I'll let wikipedia explain what a light novel would be.

  A light novel (ライトノベル raito noberu?) is a style of Japanese novel primarily targeting middle and high school students (young adult demographic). "Light novel" is a wasei-eigo, or a Japanese term formed from words in the English language. Such short, light novels are often called ranobe (ラノベ?) or LN in the West. They are typically not more than 40,000–50,000 words long (the shorter ones being equivalent to a novella in US publishing terms), rarely exceed 200 pages, often have dense publishing schedules, are usually published in bunkobon size, and are often illustrated. The text is often serialized in anthology magazines before collection in book form.

IS THIS TERM ONLY USE IN JAPAN?

Yes it is. If you would use the term in the west, you would be referring to Japanese novella.

HOW IS A LIGHT NOVEL DIFFERENT FROM A REGULAR NOVEL?

I guess novels would printed in the A5 format, but a light novel would be printed in the Bunkobon format, which would be the A6 format.

IS A LIGHT NOVEL USED EXCLUSIVELY FOR ANIME OR MANGA ADAPTATION?

Since the target group of light novels are primarily middle and high school students, it wouldn't surprise me if most of them are. They aren't exclusively used for anime or manga adaptations though. If you read further on the wiki page it is mentioned that popular movies as Star Wars have also influenced the content. But they do mention that

  In recent years, light novels' stories have been popular choices for adaptation into manga, anime, and live-action films, though in the case of the former two, usually only the first two novels are adapted.

------------------------------------------------------------------------

While searching about Light novels I encountered the wiki how page on Light novels. So if you ever wanted to write one yourself, check it out.

answered Aug 7 '14 at 14:09

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Peter RaevesPeter Raeves

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Is this term only used in Japan?

This term ORIGINATED IN JAPAN as a 和製英語 (_wasei eigo_ [meaning Japan-style English] = Japanese-invented WORDS THAT "SUPERFICIALLY APPEAR TO COME FROM ENGLISH, BUT IN FACT DO NOT"). _Wasei eigo_ differs from 外来語 (_gairaigo_ = loanwords or real “words from abroad”) and Engrish (misuse or accidental corruption of the English language by native speakers of some East Asian languages).

The term "light novel" has been adapted from Japan for USE IN OTHER ASIAN COUNTRIES, where it refers to imported light novels from Japan as well as to LOCALLY-PRODUCED BOOKS OF SIMILAR STYLE (In Korea, it is called "라이트 노벨" [_laiteu nobel_], in China it is called "輕小說" [_qīng xiǎoshuō_] = "light fiction"), whereas IN ENGLISH-SPEAKING COUNTRIES, the term refers EXCLUSIVELY TO JAPANESE LIGHT NOVELS which are imported under that term. In the English usage, the term is only used to refer to such books produced in Japan (i.e. there cannot be a legitimate American light novel just in the same way as there cannot be American anime).

How is a light novel different from a regular novel? Except for light novels being... light, are there any other differences?

-   A light novel is short in page length and usually features intermittent manga-style illustrations --- but that same description can be said of many Japanese children's novels! IN CONTRAST, LIGHT NOVELS ARE FOR ALL AGES & DEMOGRAPHICS. Although it is approximately equivalent in length to the Western novella, THE LIGHT NOVEL CANNOT BE CALLED A JAPANESE NOVELLA: the Japanese term for "novella" is 「中編小説」(_chuuhen shousetsu_), and is not used to refer to light novels (it is used for short stories by Murakami Haruki, for example, which are considered high-quality literature).
-   Though each published volume is short, light novels can stretch into long series. Some of the series premier in magazines, so you can think of those like LITERARY SERIALS (think Charles Dickens); a serial is EPISODIC, "a printed format by which a single larger work, often a work of narrative fiction, is published in sequential installments." As such, a serial is written differently than a full-length novel that gets published into a chunky book at once. A serial must grab the reader's interest in the first chapter, and plot out the development so that at least one exciting thing happens in each chapter. It intentionally ends chapters with a cliff-hanger when possible. It cannot leisurely build to the climax, or take a whole chapter or so to only tell you what a minor character is doing somewhere else (which a novel printed all at once is free to do). Thus, THE FORMAT OF THE STORY IS STRUCTURED IN A SPECIFIC WAY THAT OTHER NOVELS ARE NOT BOUND TO. This is another aspect in which the light novel differs from average Japanese children's novels. This is also why, if _Harry Potter_ had been written in Japanese with manga-style illustrations, it still would not have been a light novel: it is not short in length and it was published all at once rather than serialized.
-   A large percent of light novels are read by people involved in some sort of SUB-CULTURE, such as manga, anime, and/or gaming. However, just because a certain percentage of light novels include _moe_, light novels are not limited to such content and tone; ALL GENRES ARE INCLUDED, from horror to romance to sci-fi. Some are the novel-equivalent or adaption of shoujo manga and are marketed at young girls. Some genres are less likely to be exported based on the otaku demographics outside of Japan, so those genres are less well-known to the international subculture community.
-   IN CONTRAST TO STANDARD JAPANESE (AND WESTERN) NOVELLAS AND NOVELS FOR ADULTS, light novels are OFTEN ILLUSTRATED.

Are light novels used exclusively for anime or manga adaptations?

-   No, some light novels are serialized as their own original works in non-manga magazines and NEVER HAVE A RELATION TO MANGA.
-   Some light novels now ORIGINATE ONLINE and never have a relation to manga or any other mediums.
-   Some light novels are created as ADAPTIONS of manga/anime/games after the manga series or game has gained a lot of popularity.
-   Some light novels start as original works and then GET ADAPTED into manga/anime/games/live-action afterward.

Are there any light novels that do not use manga-style drawings?

Yes. Artists of the earliest light novels included those who worked in 油絵 (_abura-e_ = OIL PAINTING) and 水彩画 (_suisaiga_ = WATERCOLOR). In 1987, the 少女小説 (_shoujo shosetsu_ = girl's novels) genre began, and for the first time shoujo manga style was used, which helped establish the trend of manga-style art as the standard for light novels from the 1990s.

While illustrations are a common feature, SOME LIGHT NOVELS DO NOT INCLUDE ANY ILLUSTRATIONS WHATSOEVER. The ones without any illustrations are less likely to be exported to other countries and are therefore less well-known outside of Japan.

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answered Jun 1 '15 at 0:36

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seijitsuseijitsu

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  Is this term only use in Japan?

It originated in Japan but not exclusive of Japan. There are light novel writers in Korea and China, since it can be used for anything written within certain criteria.

  How is light novel different from regular novel?

If I had to describe it in few words: a easier to read novel.

If you check out some novels, like _Another_ and see most Light Novels the difference is evident. Light novels have shorter paragraphs, characters less complicated to read (i.e. the appearance of obscure Kanji in a sentence is rare), and generally shorter.

  Is light novel use exclusively for anime or manga adaptation?

Actually, most light novels (LN from now on) don't make it to anime production, and some are adapted to manga to promote the novel itself rather than to make a illustrated carbon copy of the LN. This is, as with all business, mostly motivated by marketing reasons, rather than some secret rule. Granted, if your LN is popular, it will get advertised in more media (manga, anime, live action, etc.) than if it's not popular.

  Is there any light novel that do not use manga style drawing?

Drawing depends on the artist, and most artist also do other things like doujins or the very manga. The drawing is merely a representation of what they know to do, rather than following a predefined style.

answered Aug 12 '14 at 0:24

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BraiamBraiam

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The expanded definition and description of "light novel" appears to correspond to pulp fiction which started as magazine serials in the 19th century in English and Western European language markets - with the exception of it having the sensibility to be age appropriate for young-adults or the modern YA market. The format length appears to be driven by the market, and series light novels are much like series pulps - but with aiming the stories to be age appropriate for 10 and 11 year olds (and up).

answered Apr 11 '18 at 14:08

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Not the answer you're looking for? Browse other questions tagged terminology light-novel-production or ask your own question.

question: How does a Japanese light novel differ from a Novella

text: Not all Japanese light novels contain illustrations or Manga.

category: accuracy

answer: A light novel is short in page length and features intermittent manga-style illustrations. Although it is approximately equivalent in length to the Western novella, THE LIGHT NOVEL CAN NOT BE CALLED A JAPANESE NOVELLA: the Japanese term for "novella" is 「中編小説」(_chuuhen shousetsu_), and is not used to refer to light novels. Light novels have shorter paragraphs, characters less complicated to read (i.e. the appearance of obscure Kanji in a sentence is rare), and generally shorter.

answer_source: Human misleading

text: '...THE LIGHT NOVEL CAN NOT BE CALLED A JAPANESE NOVELLA:...' - Rewrite this in lower cases.

category: coherence

answer: A light novel is a style of Japanese novel targeting teenagers and young adults. These novels contain mostly illustrations in anime or manga style. They are usually published in bunkobon size (A6 – 105 x 148mm). Light novels are not very long. The length is comparable to a novella in US publishing terms.

answer_source: Model

text: Mention how the term is not actually English, the origin of the Japanese light novel, and the serialized format. This will further differentiate it from novellas.

category: coverage

answer: A light novel is short in page length and features intermittent manga-style illustrations. Although it is approximately equivalent in length to the Western novella, THE LIGHT NOVEL CAN NOT BE CALLED A JAPANESE NOVELLA: the Japanese term for "novella" is 「中編小説」(_chuuhen shousetsu_), and is not used to refer to light novels. Light novels have shorter paragraphs, characters less complicated to read (i.e. the appearance of obscure Kanji in a sentence is rare), and generally shorter.

text: The answer is a copy-paste of the source material and is not a summary.

text: The answer is a copy-paste of the text from the source material. It is not a summary of the text.

text: This is not a response to the question.

text: The answer is a copy of a text from the question.

text: The answer is poorly structured and contains unnecessary information.

text: The response is missing a few details about the difference between a light novel and a novella.

text: The answer is a copy and paste of a section of the original text, which is a forum post. The relevant information is too buried in the text to be extracted easily.

text: The third sentence is both grammatically and syntacticallybroken

answer: A light novel is short in page length and usually features intermittent manga-style illustrations. Although it is approximately equivalent in length to the Western novella, THE LIGHT NOVEL CAN NOT BE CALLED A JAPANESE NOVELLA: the Japanese term for "novella" is 「中編小説」(_chuuhen shousetsu_), and is not used to refer to light novels. Light novels have shorter paragraphs, characters less complicated to read (i.e. the appearance of obscure Kanji in a sentence is rare), and generally shorter.

answer_source: Human

text: The answer is not clear on how the light novel differs from a novella.

text: The answer is not related.

text: The answer is a copy and paste of the source material and is not a summary.

text: The answer is incorrect. The question asks how a Japanese light novel differs from a novella. The answer should state that the question is asking about Japanese light novels and Western novellas.

text: This is not the only difference between light novels and novellas.

text: The answer is not clear in its pronoun use.

text: The last two sentences are not relevant.

text: The answer should be rewritten as it doesn't properly describe the difference. It would be better to say that it's more different from a Japanese novella than a Western one - as Japanese novellas are considered high quality short story, but both novellas don't have illustrations.

answer: A light novel is short in page length and usually features intermittent manga-style illustrations. Although it is approximately equivalent in length to the Western novella, THE LIGHT NOVEL CAN NOT BE CALLED A JAPANESE NOVELLA: the Japanese term for "novella" is 「中編小説」(_chuuhen shousetsu_), and is not used to refer to light novels. Light novels have shorter paragraphs, characters less complicated to read (i.e. the appearance of obscure Kanji in a sentence is rare), and generally shorter.

answer: A light novel is a style of Japanese novel targeting teenagers and young adults. These novels contain mostly illustrations in anime or manga style. They are usually published in bunkobon size (A6 – 105 x 148mm). Light novels are not very long. The length is comparable to a novella in US publishing terms.

text: The answer is a copy of the definition of light novels. It does not answer the question.

text: The answer is a copy and paste of the definition of a light novel. It doesn't answer the question.

text: The answer is a description of light novels, not a comparison to novellas.

text: This doesn't answer the question

text: The response is not related.

text: Extra bunkobon information, which is irrelevant


text:
Sherry Masood
Meeting a Stranger
Tripping and Finding a Dollar
	The bay always makes the sunset a much bigger event. It’s like you’ll miss it twice, once for the reflection, once for itself. A man is leaning over the bridge, contemplative. The bridge is bustling and honks are as common as laughs. Couples walk hand in hand and bicyclists fly past in their separate lane. An Asian family passes by the man. The mother leads the family, looking at her surroundings for threats against her children. A scowl painted on both of the parents faces; you can tell it’s been a stressful day. The first three members of the family of four walk past the man without skipping a beat, but a little boy with a short black mop on top of his head pulling up the rear stops to stare. The man turns to stare. For a few seconds they analyze each other, imaging life on the other side. “Kenji! Pali Pali!” The boy reaches into the pocket of his coat and pulls out a piece of chocolate. “Here, this’ll make you feel better; it’s what my Appa gives me when I’m sad.” The man smiles for the first time in what seems like his life and pats the child on his head as a worried mother grows an impatient look on her face. “Run along now”.
	The sun’s golden lining disappears over the coast line leaving behind a dark purple afterglow. It’s one of those dawns that has the moon coming early to say goodbye to the sunlight- a full moon, he’s been waiting.  In what seems like minutes to the man, dawn turns to pure night and people file off of the bridge. Each car passing by has a more significant impact on the near silence of salty waves and the low whistle of the breeze. He wasn’t on Earth time anymore. Time is like a balloon- the more you fill it, the heavier it becomes. This particular balloon was filled with just the very basics: the night air, starlit darkness on a rippled reflection, and *thump*,*thump*. A new sound emerged- the sound of concrete being slapped by the sole of a boot. A Hispanic man, a stranger looking to be in his early 40’s emerges out of the darkness. Shaggy brown hair lies messily atop a wise looking face, empathetic grey eyes seem to stare into the man’s soul. The stranger stands maybe five feet from the man and leans over the hanging of the grey bridge. “Do you know what serendipity is?” asks the stranger. “Yeah… kinda”. “It’s like a happy accident”, the stranger explains. “Like tripping and finding a dollar?” “Yeah… kinda.”
	The two men, one quite older than the other, stand side by side as if swallowed whole by the bright white gem. “Ya know, I saw you here last week, and again two nights ago” the stranger said. Silence responds. “Are you not sure about it? Or were you waiting for something?” The man looks at the stranger, then at the moon, gesturing with his chin. “I see”.
The stranger pulls out a flask. “Do you have something you can use as a cup?” he asks the man. The man looks down and thinks. He reaches in the inside of his coat and pulls out a mint container. “There’s some left, want any?” he asks the stranger. “I’m about to drink liquor”.
“Oh… Right”, the man empties the mints into the bay.
	The stranger pours the man a shots worth of amber, he asks, “What do we toast to?” “How about to the liquor?” “To the liquor!!” exclaimed the stranger as they tip their vessels together. Down the hatch the shots of gasoline go. “Ya know, I kinda hate whiskey but right now, this is all right” said the man. “It’s an acquired taste. Let’s get you on your way”. Two more shots poured, two more warm stomachs, two happy brains. *Braaaawaarooop*, the stranger lets out a devastating belch, the man responds with his own, less powerful, but nonetheless impressive, belch- the sounds of solidarity in the night. Two piss streams go into the bay. The darkest part of the night has already passed.
	“So what is it anyway?” the stranger turns and asks inquisitively. “What’s all gone so wrong?”
The man starred at his own two feet. “Where do you want me to start?” he looks down at the strangers’ feet.  “I’ve just moved to this city and my whole worlds back on the other side of the country probably falling in love without me. My family doesn’t give a damn about me and they don’t even notice I’m gone most of the night. The one thing that cared about me as much as I cared about it, my dog, was just put down for being a potential killer. My whole fucking life has been swept up from under my feet and now I’m having drinks with a stranger on a bridge well past midnight in a town I know nothing about...” the man sounded like he’d wrung out the last of the words he could manage for the moment. Turning with sparkly moonlit eyes and a manic kind of smile he asks, “So, how’s that?” The stranger looks back alarmed and sorry, “Listen I-*pop*…. *pop* *pop*.
	“Those sounded just like suppressed .45 rounds!” the man exclaims as they both turn to face the west entrance to the bridge. They start running, pounding against the steelwork. As they approach the entrance they see two shadowy figures running quite a distance away; turning into an abandoned side street. They were running from the scene they had left. The man and the stranger approached the first café adjacent to the bridge and found themselves in a horrific scene. A sprawl of spilled out purse objects: lipstick, lotto tickets, napkins, a cleaned out wallet. It was all fallen in a trail leading up to a woman’s hands-pale and relaxed. A pool of dark blood was collecting under her abdomen; a stream began flowing across covering her face down figure, dying the tips of her straight black hair. The blood was approaching her other hand which was clutched onto tight by a smaller hand.  A sudden rustle caught both men off guard and they turned to see a small child clutching his leg, a quiet terror erupting from his eyes. His mouth was open like he was screaming but hardly any sound could be heard. “Oh, fuck” said both men, one taking a step back, the other shocked frozen. This small boy, no older than 8 had a hole going through his entire left thigh, past the muscle and bone, and all the way through to the other side. The man kneels down and holds the boys hand, “Can you hear me? You’re going to be okay. We’re going to get help and you’re going to be okay.” The boy, still looking as if he was screaming, shook his head yes as tears glided across his face. “I don’t understand it, why can’t he speak?” asked the stranger. “He’s… he’s a- a mute.” said the man. “We’ve got to get him to a hospital, is there one close by?” “Only a block away on Grant” said the stranger “There’s a Sutter.” The man gently as possible placed one arm under the boy’s jeans, damp and warm from the blood and the other on the top of his back and lifted the boy up. “Let’s go”. “Wait. I need to call the police and wait for them here. You take the boy.” The man looked at the stranger firm in the eye and nodded, “Okay”.
	The boy had been in the E.R. for three hours now. The sun had risen. The police had come to gather information. He had none for them. They told him the woman couldn’t be identified. There was nothing to go off of. They didn’t mention the stranger so neither did he. He starred at his own two feet and thought about if the boy would ever be able to walk again. It looked bad. He knew he didn’t have to stay. The operators room swung open and an older doctor came through, “You must be Jack?” he asked. “How is he?” “Well we were able to save the leg.” “Oh thank god” Jack said, exhaling relief. “But the boy is still in no condition to walk. It’s still too early to tell when that’ll approve but it’s safe to say he will recover.” “That’s such a relief doctor, thank you so much.” “I think if there’s someone that boy should be thanking, it’s you Jack. You know I bet he’s been wondering about you. I’d like him to rest some more but you can come visit him in an hour or so if you’d like.” “Thank you doctor.”
	Jack went into the chair and slept for the first time in almost two days.
	“Hey”
The boy was lying in the hospital bed with a cotton leg and sad eyes that looked straight into and out of Jack. “I know this must be horrible for you.” The boy raised his arm and ushered Jack to come closer. The boy had something clutched in his hand. Jack approached him and raised his hand. The boy wrapped both hands around Jack’s hand and held on. Jack began to tear up as he felt something small and cold put into his hand. The boy closed Jack’s hand around the golden ring that had once belonged to his mother’s right hand. He had been holding it this whole time.

title: Tripping and Finding a Dollar

question: What does the story say about the boy?

text: The answer should mention that the boy is mute.

answer: The boy is a mute, and he is shot in the leg. He is in the hospital, and he gives Jack a ring that belonged to his mother.

text: The answer should mention the boy's name.

text: The answer omits that the boy is Asian.

text: The answer should mention that the boy is Asian.

text: Doesn't mention Jack's interaction with the boy.

text: An important detail is missing in the answer: Jack finds the boy on the bridge.

answer: The boy and his mother fall victim to murderous thieves. Having emptied the mother's purse, the thieves shoot her and the boy before escaping. The narrator and a stranger hear the noises and come to help. The woman is dead, but the boy is bleeding heavily from his leg. He can't talk due to being mute. The protagonist takes him to a hospital and waits for him to wake up. The doctors tell the protagonist that they managed to save the boy's leg, and the protagonist visits him about an hour later. He's holding his mother's ring in his hand. He motions for the protagonist to come closer, holds his hand, and gives him the ring.

text: It should be mentioned that before the boy and his mother were attacked they passed the protagonist on the bridge. It looked like he was contemplating suicide so the boy gave him chocolate to make him feel better.

answer: The boy and his mother fall victim to murderous thieves. Having emptied the mother's purse, the thieves shoot her and the boy before escaping. The narrator and a stranger hear the noises and come to help. The woman is dead, but the boy is bleeding heavily from his leg. The protagonist takes him to a hospital and waits for him to wake up. The doctors tell the protagonist that they managed to save the boy's leg, and the protagonist visits him about an hour later. He's holding his mother's ring in his hand. He motions for the protagonist to come closer, holds his hand, and gives him the ring.

text: The answer should mention the boy is mute.

text: 'The boy and his mother fall victim to murderous thieves. Having emptied the mother's purse, the thieves shoot her and the boy before escaping.' is inaccurate. The boy was alone with his mother when she was shot, and he was shot in the leg.

text: Jack isn't the protagonist of the story.

text: The answer is missing the part where Jack, the protagonist, meets the boy for the first time. The boy gives him a piece of chocolate and tells him that will make him feel better. The man smiles and pats the child.

text: The answer should mention that the boy becomes mute because of shock.

answer: The boy is a mute, and he is shot in the leg. He is in the hospital, and he gives Jack a ring that belonged to his mother.

text: The answer should mention that the doctor told Jack that the boy was in no condition to walk yet, but will recover.

answer: The boy and his mother fall victim to murderous thieves. Having emptied the mother's purse, the thieves shoot her and the boy before escaping. The narrator and a stranger hear the noises and come to help. The woman is dead, but the boy is bleeding heavily from his leg. He can't talk due to being mute. The protagonist takes him to a hospital and waits for him to wake up. The doctors tell the protagonist that they managed to save the boy's leg, and the protagonist visits him about an hour later. He's holding his mother's ring in his hand. He motions for the protagonist to come closer, holds his hand, and gives him the ring.

text: The answer omits that the boy is Asian.

text: The answer omits that the boy is Asian and about eight years old.

text: The answer should mention that the boy is mute, not that he can't talk.

text: The stranger who helped them is named Jack.

answer: The boy and his mother fall victim to murderous thieves. Having emptied the mother's purse, the thieves shoot her and the boy before escaping. The narrator and a stranger hear the noises and come to help. The woman is dead, but the boy is bleeding heavily from his leg. The protagonist takes him to a hospital and waits for him to wake up. The doctors tell the protagonist that they managed to save the boy's leg, and the protagonist visits him about an hour later. He's holding his mother's ring in his hand. He motions for the protagonist to come closer, holds his hand, and gives him the ring.


text:
SUSAN ARNOLD ELSTON WALLACE (December 25, 1830 – October 1, 1907) was an American author and poet from Crawfordsville, Indiana. In addition to writing travel articles for several American magazines and newspapers, Wallace published six books, five of which contain collected essays from her travels in the New Mexico Territory, Europe, and the Middle East in the 1880s: _The Land of the Pueblos_ (1888), _The Storied Sea_ (1883), _The Repose in Egypt: A Medley_ (1888), _Along the Bosphorus, and Other Sketches_ (1898), and _The City of the King: What the Child Jesus Saw and Heard_ (1903). She was also the wife of Lew Wallace, a lawyer, American Civil War general, politician, author and diplomat. Susan completed the manuscript of Lew Wallace's two-volume autobiography following his death in 1905, with the assistance of Mary Hannah Krout, another Crawfordsville author. Wallace died in Crawfordsville in 1907.

Early life and education

Susan Arnold Elston was born on December 25, 1830 in Crawfordsville, Indiana. She was the third daughter, the fourth of nine children, born to wealthy and influential parents, Isaac Compton, a Crawfordsville dry goods merchant, and Maria Eveline (Akin) Elston, whose family were Quakers from upstate New York.[1][2] Susan was educated at home in Crawfordsville and at Dr. Gibbons' Friends' Boarding School in Poughkeepsie, New York.[3][4] While at boarding school, she studied literature, geometry, and writing, but preferred music, especially playing guitar and piano.[5][6]

Marriage and family

Susan married Lew Wallace on May 6, 1852.[7] The couple first met in 1848 at the home of Joanna and Henry Smith Lane in Crawfordsville. Joanna was Susan's older sister; Lane was Wallace's former military commander during the Mexican War and became one of his closest associates.[8] At the time of their courtship, Wallace was a prosecuting attorney in Covington, Indiana. His earlier reputation for getting into trouble caused Susan's father to disapprove of him initially, but the courtship continued.[9][10][11] Susan accepted Wallace's marriage proposal in 1849. Three years after their first meeting, the couple were married at the Elston family home in Crawfordsville.[12] Late in life she still described him as “my first, last, and only love.”[13][14]

The Wallaces established their first home at Covington, where Lew continued to practice law, but moved to Crawfordsville in 1853, to be closer to her family.[15] The couple had one son, Henry Lane Wallace, born on February 17, 1853, in Covington. He was named for their brother-in-law, Henry Smith Lane.[16]

Although Susan was a talented writer and musician, she preferred to remain largely in the shadows as her husband's companion and advisor.[17] Lew became a major general during the American Civil War, who was later appointed governor to the New Mexico Territory and served as the U.S. Minister to the Ottoman Empire. He also went on to become one of the most celebrated American authors of the 19th century, following the publication of _Ben-Hur: A Tale of the Christ_ (1880).[18]

On occasion, Susan accompanied her husband to his various posts, but Crawfordsville remained their home.[19][20][21][22] In February 1879, Susan joined Lew in Santa Fe, New Mexico, where he served as the territorial governor, but she disliked its dusty, dry climate, and returned to Indiana in October.[23] In 1881 Susan accompanied her husband to his diplomatic post in Constantinople, Turkey, and traveled throughout Europe, Egypt, and the Holy Land during their years abroad.[24] When Lew's diplomatic assignment ended in 1885, the Wallaces returned to Crawfordsville, where Susan was prominent in the town's literary community. She befriended other local writers, including Mary Hannah Krout and her sister, Caroline Virginia Krout, and continued to write.[25]

Career

Susan Wallace was a published author long before her husband was.[26] “The Patter of Little Feet”, one of her best known poems, first appeared in the _Cincinnati Daily Gazette_ on April 17, 1858. Largely forgotten by modern readers, her works focused on home, friends, travel, and Christianity.[27][28] She was also very interested in women's roles, especially after traveling with her husband to Turkey and the Middle East. Her travel writing is described as more reflective and poetic than a detailed travel guide. She offered romantic and sentimental narratives of her travels in addition to vivid descriptions, with touches of realism and humor.[29]

Susan's writing first appeared in American magazines and newspapers, but collected essays later appeared in her books, which were published between 1883 and 1903, after she had reached the age of fifty.[30] During her brief time in the New Mexico Territory in 1879, Susan described her experiences in a series of articles that she had previously sent to the _Atlantic Monthly_, the _New York Independent_, and the _New York Tribune_. A collection of these essays were later included in her book, _The Land of the Pueblo_ (1888).[31] Susan also wrote about her travels abroad for American magazines and syndicated newspapers. Collected essays were later published in four books: _The Storied Sea_ (1883), _A Repose in Egypt, A Medley_ (1888), _Along the Bosphorus, and Other Sketches_ (1898), and _The City of the King: What the Child Jesus Saw and Heard_ (1903).[32][33] _Ginèvra; or, The Old Oak Chest, A Christmas Story_ (1866), which is based on a Samuel Rogers poem, initially appeared in 1884 in the _New York Independent_.[34]

In addition to her own writing, Susan was involved in her husband's literary career. Lew acknowledged Susan's role as his editor, reader, and critic, and attributed much of his success in writing to her literary criticism.[35] Wallace was writing his memoirs when he died in 1905, and Susan completed his manuscript with assistance from Mary Hannah Krout, another Crawfordsville author. Using correspondence, speeches, notes, and other materials, they added another 204 pages to his two-volume work, _An Autobiography_ (1906).[36] In volume two, page 796, of the 1906 edition, Susan added: “And here the Autobiography ends. What follows must be a plain record of facts without attempt at polish or effect.”[37]

Death and legacy

Susan Wallace died in Crawfordsville on October 1, 1907, at the age of seventy-six.[38][39] She is buried beside her husband in Crawfordsville's Oak Hill Cemetery. A collection of her papers are preserved as part of the Wallace Collection at the Indiana Historical Society in Indianapolis.[40][41]

Selected works

-   _The Storied Sea_ (Boston: James R. Osgood and Company, 1883).[42]
-   _Ginèvra; or, The Old Oak Chest, A Christmas Story_ (New York: Worthington, 1887) [illustrated by Lew Wallace].[43]
-   _The Land of the Pueblos_ (New York: John B. Alden, 1888) [with illustrations by Lew Wallace].[44]
-   _The Repose in Egypt: A Medley_ (New York: John B. Alden, 1888).[45]
-   _Along the Bosphorus and Other Sketches_ (Chicago: Rand, McNally and Co., 1898).[46]
-   _The City of the King: What the Child Jesus Saw and Heard_ (Indianapolis: Bobbs-Merrill, 1903).[47]

Notes

[1] Stephens, p. 10.

[2] Spragg, p. 1.

[3]

[4]

[5]

[6] Morsberger and Morsberger, p. 39.

[7]

[8]

[9]

[10] Stephens, p. 10–11.

[11] Morsberger and Morsberger, p. 40.

[12]

[13] Boomhower, p. 136.

[14] Spragg, p. 5.

[15]

[16]

[17] Russo and Sullivan, p. 419.

[18] Forbes, p. 387.

[19] Morsberger and Morsberger, p. 444.

[20] Stephens, p. 229–230.

[21] Boomhower, p. 98 and 101.

[22] Ferraro, p. 142.

[23] Boomhower, p. 105–106.

[24]

[25] Morsberger and Morsberger, p. 412 and 444.

[26] Boomhower, p 89.

[27]

[28]

[29] Morsberger and Morsberger, p. 339–40.

[30]

[31] Spragg, p. 4.

[32]

[33] Morsberger and Morsberger, p. 316–18, 326, 339, 359, 412, and 437.

[34]

[35] Russo and Sullivan, p. 309.

[36] Boomhower, p. 135.

[37] Lew Wallace, _Autobiography_, vol. II, p. 796.

[38]

[39] Morsberger and Morsberger, p. 339.

[40]

[41] _The Papers of Lew and Susan Wallace_, a documentary edition published in 2008 on forty-nine microfilm rolls, includes letters, essays, speeches, and other items collected from more than a hundred repositories. See Mason, Caudell, Bellamy; Boomhower, p. 176–81; and

[42] Russo and Sullivan, p. 421.

[43] Russo and Sullivan, p. 423.

[44] Russo and Sullivan, p. 424.

[45] Russo and Sullivan, p. 428.

[46] Russo and Sullivan, p. 431.

[47] Russo and Sullivan, p. 435.

title: Susan Wallace

question: Describe Susan's relationship with her husband.

text: This answer omits Susan's abiding love for her husband.

answer: Susan was a talented writer, musician, and wife. She preferred to remain in the shadows as her husband's companion and advisor. She was involved in her husband's literary career as well.

text: The answer should mention that Susan was the wife of Lew Wallace.

text: It is omitted that Susan married Lew Wallace on May 6, 1852.

text: It is omitted that they were married for 53 years.

text: The response should include that Susan was her husband's first, last, and only love.

text: The answer should mention her husband's role in her life.

text: The article doesn't mention a musical career for Wallace. It says she would play the piano, but it doesn't mention anything more. This should probably be removed.

text: The first two sentences should be combined with a "but" in between.

text: This should mention how Susan would sometimes accompany Lew to his various posts as a major general during the Civil War.

text: This should mention how Lew credited her for a lot of his success in writing due to her criticism.

answer: Susan and her husband, Wallace met in 1848. She accepted his proposal in 1849 but they only married in 1852. Susan's father didn't approve of Wallace at first because he had an earlier reputation for getting into trouble.

text: The response misses to mention that Susan described her husband as her "first, last, and only love”.

answer: Susan and her husband, Wallace met in 1848. She accepted his proposal in 1849 but they only married in 1852. Susan's father didn't approve of Wallace at first because he had an earlier reputation for getting into trouble. Late in life Susan still described Wallace as “my first, last, and only love.”

text: The answer omits that Susan was a talented writer and musician, but preferred to remain largely in the shadows as her husband's companion and advisor.

text: It is omitted that Susan was a talented writer and musician, but preferred to remain largely in the shadows as her husband's companion and advisor.

text: The answer omits that Susan was Wallace's advisor and companion.

text: The answer should mention that Susan was a talented writer and musician, but preferred to remain largely in the shadows as her husband's companion and advisor.

text: The answer should mention that Susan was Wallace's advisor and companion.

text: The answer could include the fact that Wallace was a lawyer, American Civil War general, politician, author, and diplomat.

text: The answer omits the complementary and supportive nature of their relationship.

text: The line about Susan and Wallace finally tying the knot is unattested.

answer: Susan and her husband, Wallace met in 1848. She accepted his proposal in 1849 but they only married in 1852. Susan's father didn't approve of Wallace at first because he had an earlier reputation for getting into trouble. Late in life Susan still described Wallace as “my first, last, and only love.”

text: It is omitted that Susan completed the manuscript of Lew Wallace's two-volume autobiography following his death in 1905

text: It is omitted that although Susan was a talented writer and musician, she preferred to remain largely in the shadows as her husband's companion and advisor. He become one of the most celebrated American authors of the 19th century.

text: It is omitted that Susan accompanied her husband to his diplomatic post in Constantinople, Turkey, and traveled throughout Europe, Egypt, and the Holy Land.

answer: Susan and her husband, Wallace met in 1848. She accepted his proposal in 1849 but they only married in 1852. Susan's father didn't approve of Wallace at first because he had an earlier reputation for getting into trouble.

text: Remove the comma after Wallace

text: It is omitted that Susan was a talented writer and musician, but she preferred to remain largely in the shadows as her husband's companion and advisor.

text: Rewrite the sentence to reflect that Elston and Wallace were the names of their respected spouses ("Susan and her husband, Wallace")

text: The response should include Wallace's first name, Lew.

answer: Susan was a talented writer, musician, and wife. She preferred to remain in the shadows as her husband's companion and advisor. She was involved in her husband's literary career as well.

text: Details of how Susan was involved with her husband's career would have been helpful here.


text:
Any words in italics are supposed to be my internal monologue at the time.  Thanks for reading

*I’m drunk, I’m out of shape, I worked out today and my muscles are still sore, I don’t even know those guys.*  A couple hundred really good reasons not to get involved crashed through my mind when I saw the fight break out down the street.  Two seconds into my sprint I had to admit all of those reasons sounded pretty damn logical, convincing even, but 5 guys had just jumped 2 young men and some part of me will always have an irrational hatred for assholes who don’t see the need to fight fair.  It didn’t look like any of them were older than 20 and I am reminded for the 100th time that night I am not nearly as young as I want to be.  The panic in my wife’s voice as she shouts “don’t” tells me that I’ll have another fight to deal with when I get home; I change that “when” to an “if” as I remember that I haven’t been in a proper fight in almost a decade. 30 yards in about 4 seconds, *not bad old man*, I still promise to put a little more time in on the jump rope collecting dust in the basement.
	By the time I get there both of the friends are on the ground catching a couple of rounds of punishment, 2 on 1 victim and 3 on the other.  I’m praying that both the unlucky bastards know how to cover up properly.  I’m praying at least one of the attackers has a flash of conscience and backs off.  I’m praying one of the awestruck bystanders with their smart phones out had enough sense to call the cops before they tweeted about watching a curb stomping.  I’m praying that Blue Cross covers injuries incurred during a White Knight fiasco.  I’m praying, but I put down religion a long time ago and I don’t want to choke on my own hypocrisy…or spit…seriously I need to up my cardio.
	I grab one of the attackers from behind and rip him off the victim.  He’s big, real big; I thank god I was diligent in my leg workouts for the past month and put all my weight and a full hip rotation into slinging the jackass into the nearest wall.  The sound of his back hitting the glass makes me wonder who’s responsible for property damage in this situation.  I don’t dwell on it long, I just scream some dark rambling thought about him needing to get lost, it sounds great and dramatic in my head and the guy was smart enough to take off running.  The second guy barely noticed his friend’s absence and is still teeing off on the grounded kid.  He pulls a hand back to hammer another blow home and I hook his arm to stop the strike.  I use my other arm to put him into the sloppiest chokehold ever attempted *how the hell does this always work in the movies, is there like a height requirement to choke somebody out?* I want to tell the kid to get off the ground and get to safety but my wife is already helping him up.  Inside I smile and wonder if that poor schlub knew he was going to end this night being rescued by a 5’2’’ southern spitfire putting on her best Valkyrie impression.  I stop hoping the thug I’m restraining will pass out from boredom and opt to simply kick the back of his leg as I pull him backwards by the collar of his shirt.  The ground meets him with all the love concrete can muster but he bounces up quickly enough to start running after his wayward friend.
	I turn just in time to see a punch coming my way, *seems like lucky number three has decided to end your tiresome meddling*; 26 and I still think like a Scooby Doo extra.   My hands are way out of position to block but the punch is slow, a sloppy left handed jab that tells me the guy is either real drunk or a rank amateur at dishing out pain.  I drop my weight down and get as low as my jeans allow me to and instantly regret every squat and lunge I’ve done in my life.  A little bit of head movement and the meatbag’s fist misses me by just enough to remind me I’m human; human and a lot more fragile than I want to believe.  But his momentum has put me in perfect range to satisfy a craving almost ten years in the making and for one shinning second the years of rust and day-to-day boredom are burned away by the pure fire of righteousness and madness coming together in perfect anarchy.  I’m not a superhero, not even particularly strong, but I have a punching bag at my house and just enough job related stress to make the frame rattle 3 or 4 times a week.  I plant my feet so hard I make a blister and tear it at the same time, so hard my vanity tells me the sidewalk probably cracked, and I dig in with a body shot straight from hell.  Somewhere between a hook and an uppercut I connect with a lower rib and take his and my breath away.  I push him towards his still fleeing friends and he takes the hint.
	*Everything hurts*…keep standing….*visions a little blurry*…keep breathing…*you’re still outnumbered*……pussy.  Still 2 guys left and they’re raining down sloppy kicks on this poor son of a bitch like it’s a middle school soccer game and the ball just happens to be calling for help.  How long has it been?  A minute?  An hour?  Time loses meaning as the world tilts at an awkward angle forcing me to take a lurching step to keep from falling into the sky.  *You’ve done enough, this is insane!  Somebody else can take it from here damn it the cops should be here any second.  You’re not a hero*.  But I always told myself that if I could be a hero I’d try to be like Luke Cage.  I’d help the little guy and always stand up to fight for the underdog.  I’d take a beating so those weaker than me would be safe from harm.  And I seriously have an irrational hatred for people who don’t fight fair.
	The last two nasty fucks throwing kicks have a wall about 3 feet behind them and I smile.  My friend is a personal trainer and she’s showed me an exercise she recently started having some of her clients do.  She starts people out by just doing a handstand against a wall and holding it for as long as they can, but as they get better she has them try to do a couple of inverted push up type things.  Of course I try it unsupervised like a man is supposed to and it’s hell on the shoulders, but I fill out a suit better than I have in years.  She tells me that one of her clients has gotten to the point where he can do a full set of 10 pretty easily.  I can do about half of one before every injury from high school football reminds me that I wouldn’t make it in the NFL, or CFL, or arena league, or high school football.  I plant a hand on each attacker’s chest and push; fancy battle tactic I got going on here.  Both goons travel about 5 feet to the wall previously 3 feet behind them and the impact makes me cringe and smile at the same time.
	I feel my needle drop to E and I know that I just burned up everything I had and then some.  The kid on the ground bolts to his feet and makes it half a block in a heartbeat.  Good survival instincts on that one, but he could have at least stuck around to watch me get my shit kicked in on his behalf.  My arms are useless and I might as well be wearing concrete shoes for all the good my legs are doing me.  For the first time I actually look at the people I’m fighting and I just want to scream at the two of them how young they are.  They have their whole lives ahead of them and they could be throwing that all away on some stupid fight in the middle of the sidewalk.  18, I wonder if any of them are 18 and would be tried as adults if something terrible had happened.  *Children, they’re just fucking children*.  One of the punks asks if I want a piece too.  My heroic reply is a wet cough that sounds like too many Gin and tonics.  I tell myself that it was a good run.  I tell myself that I did the right thing.  I tell myself that, worst case scenario at least I’m wearing clean underwear.  No man should die with dirty underwear on; I think my grandfather told me that.  But I see fear creep into the two attackers eyes, and with all the grace of a gazelle high on shrooms they bolt as a squad car shows up to the scene blue and red lights flashing.  I lean my back against the wall and listen to my heart play a nice salsa beat.  My wife and the cop ask me if I’m ok at roughly the same time and I answer both with a half dazed nod.  The world comes back into focus just long enough for me to hear that both the victims only sustained minor injuries, some bruises that’ll hurt like a bitch come morning and one bloody lip between the two of them.  I smile and the cop’s face makes it pretty clear he thinks I look like a madman but I couldn’t care less.  I haven’t felt this good in ages.  Neither kid wanted to press charges and distantly I wonder what those two did to deserve an ass kicking, but the thought doesn’t last long.  This isn’t a comic book, I don’t wear a cape, I don’t have to investigate and get to the bottom of the story.  I’m just a guy who feels a little bit better about his workout routine.  Both kids thank me for the help, I tell them to be safe in my best adult voice knowing damn well that I wouldn’t listen to me at their age.  I nod with what I hope is a grim look on my face, turn around and go home.

title: Left the Cape at Home

question: Describe how the narrator's workout regimen and training helped him in a fight against five guys.

text: "Martial arts training" - this is incorrect. Martial arts was never mentioned in the story. This part should be "squat and lunge"

answer: The narrator was able to run 30 yards in four seconds and sling a big guy into the wall. He was also able to put one of the attackers into a chokehold. He was also able to plant his feet so hard that he made a blister and tear it at the same time. He was also able to do a handstand against the wall and push the two goons.

text: The narrator's workout regimen and training helped him in the fight against five guys because he was able to run 30 yards in four seconds and sling a big guy into the wall. He was also able to put one of the attackers into a chokehold. He was also able to plant his feet so hard that he made a blister and tear it at the same time. He was also able to do a handstand against the wall and push the two goons.

text: The narrator's workout regimen and training helped him in the fight against five guys by allowing him to run faster and longer, and to be able to sling a big guy into the wall. He was also able to put one of the attackers into a chokehold. He was also able to plant his feet so hard that he made a blister and tear it at the same time. He was also able to do a handstand against the wall and push the two goons.

text: The narrator's feet were not injured during the fight.

text: The narrator's workout regimen and training helped him in a fight against five guys because he was able to run 30 yards in four seconds and sling a big guy into the wall. He was also able to put one of the attackers into a chokehold. He was also able to plant his feet so hard that he made a blister and tear it at the same time. He was also able to do a handstand against the wall and push the two goons.

text: The narrator's ability to plant his feet hard enough to make a blister is not relevant.

text: The response is missing the part about the narrator's workout regimen and training helping him in the fight against five guys.

text: The narrator's ability to plant his feet is irrelevant.

text: There is no evidence in the passage that running 30 yards in four seconds is due to their workout or training.

answer: The narrator's workout routines helped him during the fight against five guys as he was able to sprint 30 yards in four seconds. His leg workouts for the past month helped him rip the biggest attacker off one of the victims and throw the guy against the nearest wall. Martial arts training helps the narrator avoid a punch. Hitting a punching bag 3-4 times a week helped the narrator land a body shot on one of the attackers. Doing handstand pushups gives the narrator the upper body strength to push two of the attackers back five feet into a wall.

text: The narrator does not have martial arts training.

text: There is no evidence that the narrator does martial arts.

text: The response contains inaccurate information.

text: There is no evidence that he has martial arts training.

text: There is no evidence that the narrator has martial arts training. Delete this.

answer: The narrator was able to run 30 yards in four seconds and sling a big guy into the wall. He was also able to put one of the attackers into a chokehold. He was also able to plant his feet so hard that he made a blister and tear it at the same time. He was also able to do a handstand against the wall and push the two goons.

text: The narrator exercises a specific move that combines a handstand against a wall and inverted push-ups. This allows him to push two goons against a wall behind their back. The answer misrepresents this scene.

text: The answer omits the narrator working out with a punching bag at home 3 or 4 times a week.

text: The answer uses the same sentence structure repetitively. It should vary the phrasing for better flow.

answer: The narrator's workout routines helped him during the fight against five guys as he was able to sprint 30 yards in four seconds. His leg workouts for the past month helped him rip the biggest attacker off one of the victims and throw the guy against the nearest wall. Martial arts training helps the narrator avoid a punch. Hitting a punching bag 3-4 times a week helped the narrator land a body shot on one of the attackers. Doing handstand pushups gives the narrator the upper body strength to push two of the attackers back five feet into a wall.

text: The story says nothing about martial arts or handstand pushups

answer: The narrator's workout routines helped him during the fight against five guys as he was able to sprint 30 yards in four seconds. His leg workouts for the past month helped him rip the biggest attacker off one of the victims and throw the guy against the nearest wall. Squat and lunge training helps the narrator avoid a punch. Hitting a punching bag 3-4 times a week helped the narrator land a body shot on one of the attackers. Doing handstand pushups gives the narrator the upper body strength to push two of the attackers back five feet into a wall.

text: The narrator is not able to sprint 30 yards in four seconds.

text: The response includes extraneous information not useful for the task.

text: The response is missing the part where the narrator uses his training to choke one of the attackers.

text: The response is missing the part where the narrator reflects on his workout routine.

text: The response should include that the narrator is out of shape.

text: The response fails to mention how the narrator's training helped him in the fight against five guys.

text: For further accuracy, would describe the exercise the narrator is able to perform using their handstand push-ups in their current state.

answer: The narrator's workout routines helped him during the fight against five guys as he was able to sprint 30 yards in four seconds. His leg workouts for the past month helped him rip the biggest attacker off one of the victims and throw the guy against the nearest wall. Squat and lunge training helps the narrator avoid a punch. Hitting a punching bag 3-4 times a week helped the narrator land a body shot on one of the attackers. Doing handstand pushups gives the narrator the upper body strength to push two of the attackers back five feet into a wall.


text:
HOU JUNJI (died April 29, 643[1]) was a Chinese general and official who served as a chancellor during the reign of Emperor Taizong in the Tang dynasty. He is best known for leading the Tang military campaigns against the Gaochang and Tuyuhun kingdoms. In 643, he was implicated in a plot by the crown prince, Li Chengqian, to overthrow Emperor Taizong, and was executed.

During Emperor Gaozu's reign

Hou Junji's date of birth is unknown. Little is known about his family background other than that he was from Bin Prefecture (豳州, roughly modern Xianyang, Shaanxi). It was said that he was pretentious and always wanted to appear impressive. He favored using the bow and arrow; while he never achieved greatness in archery, he became known for his fighting abilities. At a point early in the reign of Emperor Gaozu, who was then still trying to reunify China after the collapse of the Sui Dynasty, Hou came to serve under Emperor Gaozu's son, the major general Li Shimin the Prince of Qin. While serving under Li Shimin, for his accomplishments, Hou was created the Viscount of Quanjiao. He also became a close associate of Li Shimin, often offering Li his strategies.

By 626, Li Shimin was locked in an intense rivalry with his older brother Li Jiancheng, who was the Crown Prince. He feared that Li Jiancheng would kill him. Hou, along with Li Shimin's brother-in-law Zhangsun Wuji, Zhangsun's uncle Gao Shilian, and the general Yuchi Gong, advised Li Shimin to act first and ambush Li Jiancheng and another brother who supported Li Jiancheng, Li Yuanji the Prince of Qi. Li Shimin agreed, and in 626 ambushed Li Jiancheng and Li Yuanji, killing them. During the subsequent battles between Li Shimin's forces and Li Jiancheng's and Li Yuanji's forces, Hou led Li Shimin's forces. Following these battles, Li Shimin effectively forced Emperor Gaozu to make him the crown prince, and then to yield the throne to him (as Emperor Taizong).

During Emperor Taizong's reign

Late In 626, when Emperor Taizong personally ranked the contributions of the generals and officials in order to grant them fiefs, Emperor Taizong ranked five of them—Hou Junji, Zhangsun Wuji, Fang Xuanling, Du Ruhui, and Yuchi Gong to be contributors of the highest grade, and Hou was created the Duke of Lu.

In 630, Emperor Taizong made Hou the minister of defense and gave him the additional designation of _Canyi Chaozheng_ (), making him a _de facto_ chancellor.

In 634, Emperor Taizong, sending the senior general Li Jing to command the campaign against Tuyuhun's Busabo Khan Murong Fuyun, made Hou and Li Daozong the Prince of Rencheng Li Jing's assistants on the campaign. By spring 635, Tang forces achieved initial victories, but Tuyuhun forces then burned the grazing grass to cut the food supplies to Tang horses. Most Tang generals wanted to withdraw, but Hou advocated continued advance, and Li Jing agreed, eventually allowing complete victory, as Murong Fuyun was killed by his subordinates, allowing his son Murong Shun, whom Tang supported, to become khan (as Yidou Khan).[2] Around the new year 636, after Murong Shun was assassinated by his subordinates, Emperor Taizong sent Hou with an army to try to secure the throne for Murong Shun's son Murong Nuohebo.

In 637, as part of Emperor Taizong's scheme to bestow prefectures on his relatives and great generals and officials as their permanent domains, Hou's title was changed to Duke of Chen, and he was given the post of prefect of Chen Prefecture (陳州, roughly modern Zhoukou, Henan), to be inherited by his heirs. Soon, however, with many objections to the system, the strongest of which came from Zhangsun Wuji, Emperor Taizong cancelled the scheme, although Hou's title remained Duke of Chen.

In 638, Tufan's Songtsen Gampo, after hearing that the rulers of Tujue and Tuyuhun were all able to marry Tang princesses, requested to marry one as well, but was rebuffed by Emperor Taizong. In anger, he launched a major attack on Tang, capturing a number of prefectures. Emperor Taizong sent Hou to counterattack, assisted by other generals Zhishi Sili (), Niu Jinda (), and Liu Jian (). Niu was subsequently able to defeat Tufan forces at Song Prefecture (松州, roughly modern Ngawa Tibetan and Qiang Autonomous Prefecture, Sichuan), and Songtsen Gampo, in fear, withdrew, but still requested to marry a Tang princess. (This time, Emperor Taizong agreed, sending Princess Wencheng, a daughter of a clansman, to marry Songtsen Gampo.)

Around the new year of 640, Qu Wentai (), the king of Gaochang, formed an alliance with Western Tujues who are hostile to Tang. Emperor Taizong sent Hou, assisted by Xue Wanjun (), to attack Gaochang. When Hou arrived at Gaochang, Qu Wentai died of distress and was succeeded by his son Qu Zhisheng (). Rejecting a proposal by some of his generals to ambush the Gaochang nobles when they were burying Qu Wentai (finding that doing so would be immoral), he put Gaochang's capital under siege, forcing Qu Zhisheng to surrender. Emperor Taizong annexed Gaochang territory except for three cities, which Gaochang had seized from Yanqi, and therefore were returned to Yanqi after the king of Yanqi met with Hou to congratulate him), and Hou returned to the Tang capital Chang'an with Qu Zhisheng and his subordinates as captives.

Upon Hou's return to Chang'an, however, he found himself in trouble, as it was alleged that Hou had taken for himself treasures from the Gaochang imperial treasury and forced certain Gaochang captives to be his slaves. The other generals, seeing Hou's example, also did likewise, and he was in no position to stop them. Emperor Taizong, when he found out about these events, put Hou and some of his generals under arrest less than 10 days after their return to Chang'an. However, upon the advice of the official Cen Wenben, Emperor Taizong released Hou.

Death

Hou Junji was resentful that, despite his great achievement, he was put under arrest, albeit briefly. In the spring of 643, when fellow general Zhang Liang was sent out of the capital to serve as the commandant at Luo Prefecture (洛州, roughly modern Luoyang, Henan), Hou tried to provoke Zhang by asking him, “Who squeezed you out?” Zhang, in jest, responded, “Other than you, who can squeeze me out?” Hou responded, “I conquered a kingdom, but I ran into someone throwing a temper tantrum big enough to overturn a house. What strength do I have to squeeze you out?” He then rolled up his sleeves and yelled, “I am so unhappy that I would rather die. Do you want to commit treason? I will commit treason with you!” Zhang secretly reported this exchange to Emperor Taizong, but Emperor Taizong pointed out that this was a private conversation with no corroboration, and took no action on it.[3]

In 643, when Emperor Taizong commissioned the Portraits at Lingyan Pavilion to commemorate the 24 great contributors to Tang rule, Hou's was one of portraits commissioned.

Around the same time, however, Emperor Taizong's crown prince Li Chengqian was becoming fearful because Emperor Taizong had greatly favored another son, Li Tai the Prince of Wei, and Li Tai was making designs on the crown prince position. Li Chengqian therefore gathered a group of political and military officials around him to consider overthrowing his father, including his uncle Li Yuanchang () the Prince of Han, his cousin Zhao Jie (), and brother-in-law Du He (杜荷, Du Ruhui's son). Hou's son-in-law Helan Chushi (), the commander of Li Chengqian's guards, was also part of the plot, and through Helan, Li Chengqian invited Hou to join the plot as well, as Hou agreed. However, he was deeply disturbed by his own involvement, and he developed insomnia. His wife sensed that something was wrong, and told him, “You, Duke, are an important official of the state, so why are you acting like this? If there is something you are doing wrong, you should report yourself so that your life can be spared.” However, Hou did not do so.

However, Li Chengqian's plot was betrayed by his guard Gegan Chengji (), and after an investigation ordered by Emperor Taizong and conducted by Zhangsun Wuji, Fang Xuanling, Xiao Yu, Li Shiji, as well as responsible officials from the supreme court and the legislative and examination bureaus of government, Li Chengqian was removed. The other conspirators, including Hou, were sentenced to death. Emperor Taizong initially considered commuting Hou's death sentence because of his accomplishments, but the other officials opposed, and Emperor Taizong stated to Hou, “I have to bid you, Duke, farewell. From now, I can only see your portrait!” Both he and Hou wept. As Hou was about to be beheaded, he stated to the general overseeing the execution, “I, Hou Junji, am not the type to commit treason, but I stumbled many times and reached this point. But as I destroyed two kingdoms as a general, please speak for me to His Imperial Majesty to request that I could have a son remaining to carry on the lineage, on the basis of my accomplishments.” Emperor Taizong, when he heard this, pardoned Hou's wife and children but exiled them to the modern Guangdong region, and confiscated his properties.

It was said that years earlier, after Emperor Taizong ordered Li Jing to teach Hou strategies, Hou reported to Emperor Taizong, “Li Jing is about to commit treason.” When Emperor Taizong asked him why, Hou responded, “Li Jing only teaches me basic principles and does not teach me the best strategies, keeping them for himself.” When Emperor Taizong asked Li Jing about this, Li Jing responded, “This is proof that Hou Junji will commit treason. China is secure right now, and the empire is united. What I taught him is sufficient to use against barbarians. If not for treasonous purposes, why would Hou want to learn all of the strategies?” At one point, Li Daozong also spoke to Emperor Taizong, stating, “Hou Junji has too much ambition and too little talent. He overvalued his achievements and found it shameful to be lower in position than Fang Xuanling and Li Jing. Even though he serves as a minister, he finds the position insufficient. I believe one day he will create a disturbance.” Emperor Taizong responded, “Hou Junji is very talented and capable of serving in any position. It is not that I am unwilling to give him the highest post; it is just that it is not yet his turn. How can I distrust him and believe that he will commit treason?” After Hou was put to death, Emperor Taizong apologized to Li Daozong.

Notes

-   _Old Book of Tang_, vol. 69.
-   _New Book of Tang_, vol. 94.1
-   _Zizhi Tongjian_, vols. 191, 193, 194, 195, 196, 197.

Category:643 deaths Category:Tang dynasty generals from Shaanxi Category:Chancellors under Emperor Taizong of Tang Category:Tuyuhun Category:Politicians from Xianyang Category:Tang dynasty politicians from Shaanxi Category:Year of birth unknown Category:Executed Tang dynasty people Category:People executed by the Tang dynasty by decapitation Category:Executed people from Shaanxi Category:Transition from Sui to Tang

[1] [http://www.sinica.edu.tw/ftms-bin/kiwi1/luso.sh?lstype=2&dyna=%AD%F0&king=%A4%D3%A9v&reign=%ADs%C6%5B&yy=17&ycanzi=&mm=4&dd=6&dcanzi= 兩千年中西曆轉換 ]

[2] This account, contained in Hou's biography in the _New Book of Tang_, however, conflicted with Li Daozong's biography, which stated that _Li Daozong_ was the one who supported further advancement. Compare _New Book of Tang_, vol. 94, with _New Book of Tang_, vol. 78 . The _Zizhi Tongjian_ accepted the version that had Hou being the one who advocated further advance. See _Zizhi Tongjian_, vol. 194.

[3] In Hou's biography in the _Old Book of Tang_, this event was reported to be in 643, and the _Zizhi Tongjian_ adopted that dating. _Old Book of Tang_, vol. 69 _Zizhi Tongjian_, vol. 196. However, the _Old Book of Tang_ biography for Zhang Liang, in the same volume, dated this event as occurring in 641.

title: Hou Junji

question: Who is Li Shimin?

text: There is no mention in the text that Li Shimin is the third Prince of Qin.

answer: Li Shimin was the son of Emperor Gaozu. He was the major general and Prince of Qin. He was in a rivalry with his older brother Li Jiancheng.

answer: Li Shimin is the third Prince of Qin as well as the Major General when Hou Junji was serving under Emperor Gaozu's rule.

text: It is omitted that Li Shimin is Emperor Gaozu's son.

text: "as well as the Major General when Hou Junji was serving under Emperor Gaozu's rule." - this is redundant and should be removed.

text: The answer should mention that Li Shimin was Emperor Gaozu's son.

text: The answer is inaccurate. Li Shimin was the Prince of Qin, but he was the second prince, not the third.

text: Li Shimin is the Prince of Qin, not the third prince.

text: "Prince of Qin" is not stated in the article, so it should be omitted.

text: It is incorrectly stated that Li Shimin is the third Prince of Qin, however it is true that he is the Prince of Qin and served as a major general.

answer: Li Shimin is the Prince of Qin as well as the Major General when Hou Junji was serving under Emperor Gaozu's rule.

text: The answer could mention that Li Shimin was also Emperor Gaozu's son.

text: The answqer could mention that Li Shimin was the younger brother of Li Jiancheng, the Crown Prince.

answer: Li Shimin was the son of Emperor Gaozu. He was the major general and Prince of Qin. He was in a rivalry with his older brother Li Jiancheng.

text: The answer should mention that Li Shimin became emperor after killing his brother.

text: The answer should mention that Li Shimin was also the eventual Emperor Taizong.

text: It is omitted that Li Shimin was also a close associate of Hou Junji.

text: The answer should mention that Li Shimin became Emperor Taizong.

text: Doesn't mention that Li Shimin eventually became emperor.

text: Doesn't mention that he eventually became Emperor Taizong.

text: Does not mention that Li Shimin ambushed and killed Li Jiancheng in order to take the throne.

text: There is also mention of his death at the hands of his brother. While this does not pertain to the question, it is a piece of informationprovide din the article.

answer: Li Shimin is the third Prince of Qin as well as the Major General when Hou Junji was serving under Emperor Gaozu's rule.

answer: Li Shimin is the Prince of Qin as well as the Major General when Hou Junji was serving under Emperor Gaozu's rule.

text: It is omitted that Li Shimin is also the son of Emperor Gaozu.

text: "as well as the Major General" - this is redundant and should be deleted.

text: "as well as the Major General" - this is redundant and should be removed.

text: It is omitted that Li Shimin eventually became emperor.

text: This answer does not mention that Li Shimin is Emperor Gaozu's son, and heir.