text:
[[Image:GilbertDuprez.jpg|thumb|200px|

Gilbert Duprez

]] GILBERT-LOUIS DUPREZ (6 December 180623 September 1896) was a French tenor, singing teacher and minor composer who famously pioneered the delivery of the operatic high C from the chest (_Ut de poitrine_, as Paris audiences called it). He also created the role of Edgardo in the popular bel canto-era opera _Lucia di Lammermoor_ in 1835.

Biography

Gilbert-Louis Duprez was born in Paris. He studied singing, music theory, and composition with Alexandre-Étienne Choron and made his operatic début at the Odéon in 1825 as _Count Almaviva_ in Rossini's _Il barbiere di Siviglia_. He worked in that theatre without much success until 1828, when he decided to try his luck in Italy. There, the operatic scene was more active and developed. As a result, Duprez was able to immerse himself in work, beginning principally with _tenore contraltino_ roles such as _Idreno_ in '' Semiramide '' and _Rodrigo_ in _Otello_, both by Rossini. He appeared, too, as _Gualtiero_ in Bellini's _Il pirata_. The latter role proved to be his first undisputed stage success, probably because it was free of elaborate coloratura passages, which were not considered to be his strong suit as a vocalist.

In 1831, in Lucca, Duprez took part in the premiere Italian performance of _Guglielmo Tell_, singing for the first time (in an opera theatre) a high C sung not in the so-called falsettone register,[1] as other tenors of that time were accustomed to do, but with a full voice, often described as coming “from the chest”. His Italian career then proceeded on a highly successful course. It embraced, among other things, two premieres of operas by Donizetti, namely, _Parisina_ (in the role of Ugo) at Florence in 1832, and, more significantly, _Lucia di Lammermoor_ (in the role of Edgardo) at Naples' San Carlo in 1835. His Italian reputation strongly established, Duprez returned to Paris in 1837 and scored an immediate success at the Opéra with his exciting new style of vocal delivery as exemplified in _William Tell._ Consequently, he obtained equal billing with Adolphe Nourrit as “principal tenor” of the theatre. Nourrit responded by leaving for Italy in emulation of his competitor; but unlike Duprez, he failed to master the new singing style during studies with Donizetti and committed suicide.

Duprez maintained his leading position at the Opéra until 1849, singing the title role in the première of Berlioz's _Benvenuto Cellini_ in 1838, and taking part in several further Donizetti premieres, including those of _La favorite_ (as Fernand) and _Les Martyrs_ (as Poliuto), both in 1840, and Dom Sébastien (in the title role), in 1843. Ironically the role of Poliuto, which Donizetti had written expressly for Nourrit in order to help him to maintain his exalted position, was to become associated in the public's mind with Duprez. [As Gaston in the première performance of Giuseppe Verdi's _Jérusalem_.] After singing in London at the Drury Lane theatre in the years 1843–1844, Duprez began to cut back on his stage performances, with a notable exception being the lead role in Giuseppe Verdi's _Jérusalem_. His last public appearance was in 1851 in _Lucia di Lammermoor_ at the Théâtre des Italiens. He then devoted himself to teaching, first at Paris's Conservatoire (where he had been appointed to a professorship as far back as 1842), and afterwards privately. His students included the celebrated French virtuoso bass Pol Plançon (1851–1914), whose voice is preserved on gramophone recordings made in 1902–1908. Duprez also devised a system of written exercises for singers and composed a few less than successful operettas.

In his 1880 book _Souvenirs d'un chanteur_, Duprez, a close friend of Donizetti's, related in deeply felt terms the bitter setbacks and obstructions which the Bergamo composer had suffered in the theatrical world.

Duprez died at Poissy, near Paris, in 1896. He was the father of soprano Caroline Duprez.

Vocal character

One can differentiate two distinct phases in Duprez's artistic life. Initially, being equipped by nature with a clear but comparatively thin voice, he appears to have stood in the French _haute-contre_ tradition of singing. So, when he first went to Italy, he naturally assumed equivalent _tenore contraltino_ roles in operas written by Rossini. However, he failed to make any great impression on Italian audiences with his Rossinian endeavours, perhaps because of his deeply rooted disinclination to indulge in displays of coloratura.

While in Italy, he began by modelling himself on the bel-canto tenor Rubini, whose bravura vocalism was a byword for sweetness and elegiac inflexion. Soon, however, he found a new source of inspiration in the person of Domenico Donzelli, the then greatest living “baritonal” tenor. Donzelli possessed a robust voice and a deliberately darkened timbre, coupled with firmly accented diction, immense nobility of phrasing and a vibrant, intense method of acting. The merging of Rubini and Donzelli's contrasting styles in Duprez, and the introduction of the famous high C from the chest (which soon became a standard feature of Romantic singing), gave rise to a fresh category of tenor, the _tenore di forza_. The dramatic tenor of the present day is a direct descendant in terms of range, tessitura and tonal thrust from this kind of mid-19th century voice first exemplified by Duprez.

The real origin of the “high C from the chest” is much disputed, nonetheless. For example, Paolo Scudo, a music critic employed by the _Revue des Deux Mondes_, considered that Manuel García, a tenor of an earlier generation to that of Duprez, was already capable of delivering the chest high C: but true or not, this reputed accomplishment does not diminish Duprez's historical significance. García (given his favoured style and personal taste) avoided delivering on stage any such “shriek of a strangulated capon” (as Rossini described the note's sound), whereas Duprez transformed it into “a cry of the soul”, over which innumerable tenors, for better or worse, have tortured themselves ever since. (Recently developed vocal techniques have enabled some modern-day lyric tenors to sing not only the chest high C, but also to execute the notorious high F in Bellini's _I puritani_ in a full head voice without resort to falsetto. The results, however, cannot be described as beautiful or alluring.)

Duprez was a small man and, regrettably, the chest high C was an element of his vocal mechanism which soon took a toll on his physical resources. According to Berlioz, his voice sounded “hardened” as early as 1838, at the premiere of _Benvenuto Cellini_, and over the next 10 years, despite some isolated successes, his singing continued to deteriorate. Finally, Duprez was driven into an early retirement from the stage and he took up teaching.

Musical and dramatic works

[Duprez's original manuscript from _Jéliotte_, 1853] _(List from German Wikipedia)_

-   _La Cabane du pechêur_, Comic Opera (Libretto: Edmond Duprez), 1st prodn. 1826
-   _Le Songe du Comte Egmont_, Lyric Scena (Libretto: Edmond Duprez), 1st prodn. 1842
-   _La Lettre au bon Dieu_, Comic Opera (Libretto: Eugène Scribe), 1st prodn. 1853
-   _Jéliotte_, or _Un Passe-temps de duchesse_, Operetta, 1st prodn. 1854
-   _Samson_, Operetta (Libretto by Edmond Duprez after Alexandre Dumas _père_), 1st prodn. 1857
-   _Amélina_, 1860
-   _La pazzia della regina_, 1st prodn. 1877
-   _Tariotti_
-   _Zephora_

Published writings

-   _L'art du chant_, Paris, 1845 (accessible online in a French / German 1846 edition at IMSLP)
-   ''La mélodie: Études complémentaires vocales et dramatiques de 'L'art du chant' '', Paris, Au Ménestrel, 1874 (accessible online at IMSLP)
-   _Souvenirs d'un chanteur_, Paris, Levy, 1880 (accessible online at Gallica - B.N.F.)
-   _Récréations de mon grand áge_ (2 volumes), Paris, 1888

[1] 'Falsettone' is defined as a form of strengthened falsetto by which the white sounds in the upper notes are brightened and reinforced, while still remaining rather piercing and quivering. See Caruselli, S. (ed), _Enciclopedia_, vol 4, p 1196, article: “Tenore”.

title: Gilbert Duprez

question: What does the article say about education?

text: It was Nouritt who failed to master the new singing style, not Duprez.

answer: Duprez studied singing, music theory, and composition with Alexandre-Etienne Choron. He attempted and failed to master the new singing style during studies with Donizetti. After retiring from performing, Duprez devoted himself to teaching, first at Paris's Conservatoire and then privately. His students included Pol Plancon. He also devised a system of written exercises for singers.

answer: Duprez studied singing, music theory, and composition with Alexandre-Etienne Choron. Nourrit attempted and failed to master Duprez's new singing style during studies with Donizetti. After retiring from performing, Duprez devoted himself to teaching, first at Paris's Conservatoire and then privately. His students included Pol Plancon. He also devised a system of written exercises for singers.

text: The question does not specify whose education it is referring to. There is no answer to the question.

answer: Gilbert-Louis Duprez studied singing, music theory, and composition with Alexandre-Étienne Choron. He was appointed to a professorship at Paris's Conservatoire in 1842.

text: The response should mention that Duprez also taught private lessons.

answer: Gilbert-Louis Duprez studied singing, music theory, and composition with Alexandre-Étienne Choron. He was appointed to a professorship at Paris's Conservatoire in 1842.

text: The answer should mention his students.

text: The answer should mention that Duprez was a singing teacher.

text: The answer should mention that Duprez was a teacher after his retirement.

text: The text doesn't mention who he taught at the conservatoire.

text: The answer should mention that Duprez was a teacher.

text: The response could be clearer in its pronoun use.

text: As Duprez was a prolific teacher we should also mention his reputation as a singing teacher.

text: It's omitted that he also taught privately.

answer: Duprez studied singing, music theory, and composition with Alexandre-Etienne Choron. He attempted and failed to master the new singing style during studies with Donizetti. After retiring from performing, Duprez devoted himself to teaching, first at Paris's Conservatoire and then privately. His students included Pol Plancon. He also devised a system of written exercises for singers.

text: The last sentence is unnecessary.

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

text: The last two sentences are irrelevant to the question.

text: The last sentence is unnecessary and should be removed.

text: The last sentence is irrelevant.

text: Cannot duplicate the new singing style.

answer: Duprez studied singing, music theory, and composition with Alexandre-Etienne Choron. Nourrit attempted and failed to master Duprez's new singing style during studies with Donizetti. After retiring from performing, Duprez devoted himself to teaching, first at Paris's Conservatoire and then privately. His students included Pol Plancon. He also devised a system of written exercises for singers.

text: The last two sentences are unnecessary.

text: The answer should mention that Duprez was a professor at the Conservatoire.

text: The last sentence is unnecessary.

text: The response can be more specific about the students Duprez taught.

text: The last line is unnecessary

text: The last two sentences are unnecessary.


text:
*Cobras. Cobras. More Cobras.*

"Ha ha, Baker. It is I - Dr. Lox! Back from the dream world and now here to destroy you. I have fashioned a time machine of this watch and I can travel whenever! Wherever! I want!"

"Time's up, Dr. Lox."

"Time's up? It's just begun!" And he disappeared.

Then he reappeared behind me and slapped me in the back of the head. Then he appeared in front of me and started dancing with the Dr. Lox behind me. Then two more Dr. Lox's appeared and joined in. Then more and more. Soon it was just a giant dance party of Dr. Lox's.

I slowly walked out of the lair and they didn't notice me or the time machine watch I took. I went back and forth in time until I created my own dance party. Nothing ever came of it. But it's a simple lesson on how a time machine could be used to create dance parties.

*Never Say Dying*

"Dr. Lox. It's me, Baker. I traveled back in time just before you killed me with all those volcanoes."

"Baker? Yes, I think I remember you. I have been stuck in a dream for millions of years. I am on the ninth level of dream-townville where you cannot escape your dream."

"That is the dumbest plot device I have ever heard of in my entire life."

"What about this Milk Way bar that turns into a car?"

"Still."

*Temptation to Terminate*

Dr. Lox was at it again. The entire building was sealed off and I was caught under the volcano that was aboard the spaceship that was headed towards the sun.

I had no escape. What was worse is that the sun was about to explode.

Worse still was that a black hole, unleashed by Dr. Lox, was moving slowly towards the sun.

My only chance was to activate the time machine watch I had and go back and stop Dr. Lox before any of this could occur.

I reached for the watch, but it was on my other hand.

The hand that I left at home.

Dr. Lox walked in. He was holding my hand. "You deserve a hand, Baker." He raised my hand and clapped his own hand with it.

Then he threw the hand at me. "Go ahead, Baker. Try to stop me."

I grabbed the hand and put in the time coordinates to bring me back, but it turned out it was just a regular watch - a Seiko.

"Dr. Lox, only you can stop this now. If you don't, we will all be killed."

"Not me, Baker." Dr. Lox then produced the time machine watch. He smiled and disappeared.

That's when two more volcanoes appeared and started circling the ship.

*Spy vs. Spy*

Sometimes, at night, I forget where I am and look up at the moon and think of Julia and all that could have been. Everything she was and everything she could be...

She was beautiful and I loved her.

Her and those three holes she had.

*Rangoon Noon*

You don't enter the spy game without training.

Many movies will show training camps where you learn how to kill people with matchbox cars, jelly donuts, or giant hoagie sandwiches - those movies are really accurate and I helped consult on a few, but what they don't tell you is that you also learn how to kill people with VHS home movies, oversized stuffed animals, and Pepperidge Farm gift packs.

*The End of the Road*

People think that spying is easy. You just hide behind a wall and chew gum and watch what people do, right? Like maybe you just sit behind a wall and eat a hot dog and read comic books? Like you just sit in a vacant building and eat as many pies as you can and then the next day you try to eat more and you text your buddies on the progress? Or you sit with binoculars watching an arms deal while beating off?

Well, you're wrong.

Except for the beating off thing. That happens all the time.

*Sabotage!*

I wired the dam with the explosives and waited.

I needed to confirm all six kills, so there I was, high above the dam just waiting. Waiting for them to arrive.

Finally, Schultz, Kramer, Demoine, Vernon, and Carlson pulled up.

There was no sign of Coco the Clown, until finally, he came cartwheeling down the road. The five others clapped and I pulled the trigger on the bomb.

Nothing.

I ran down to the dam and checked the charges. Coco had brought out a unicycle and was riding the edge of the dam to the others' amusement.

I made it to the wires just as Coco began juggling knives.

Slowly, I realized I was no clown killer and decided to call the whole thing off. But then Coco lost his footing and fell to his death.

I rewired the bomb, but then realized I couldn't kill the five mourners. They had been through too much.

I walked down the mountain in shame, promising to end the spy business and become a clown.

I never went through with it. But that was the one time I felt human for not killing a spy clown on a dam or a bunch of spies that were mourning a spy clown.

*Brazen Liaison*

"Baker, it's Jessica. I want you to meet me at Big Ben."

"The clock or that bouncer from the Copa?"

"The clock."

"OK. What time?"

"Eight."

"Shouldn't be to hard to keep the time." I jested.

She laughed. But I could tell she didn't find it funny. There was lying in that laughter and I told her. "You didn't find that funny, did you?"

"No. I found it stupid."

"I have better material. I was just kinda off the cuff there."

"Just meet me there."

"OK." I put down the phone and worked on new material. I felt bad about the joke.

I called her back. "How will I find Big Ben?"

"Still not funny."

I slammed the phone down. I'm no comedian, but my Big Ben material should've killed. I was angry.

I decided to go kill some spies.

But then I got tired and wrote more Big Ben jokes.

*Deadly Deeds*

When your caught in a corner and have no where to run it's time to pull out the big guns.

In this case, it was a small bomb encased in a tube of chapstick. You simply take the chapstick out, screw the bottom a couple of times and leave it to detonate within 50 seconds.

The problem was, we were in an elevator. I had to time the moment perfectly in order to get out of the elevator before the bomb went off.

"This is my floor." I said.

"It is mine too." My target said.

I bet the look on my face when the elevator blew up was priceless. I tried to shrug it off, but he knew. So I shot him.

I don't know why I didn't shoot him in the first place. It's always chapstick with me. I think I have a thing.

*The Moon Can't Lie*

It was Venice. Venice again.

Out the window I saw couples cavorting on the beach. Children swimming. Mimes miming. Dogs dogging. Cats catting. And a guy eating a hot dog.

The phone rang. "Baker, it's Jessica. I need you."

"Not tonight, Jessica. It's too late."

"But there's couples cavorting, children swimming, mimes miming, dogs dogging, cats catting, and a guy eating a hot dog."

"Oh, wow. You're right. It's only noon. I still can't. I'm on assignment and my watch is broken."

"The watch I gave you?"

"Why yes. Wait. It's a setup!"

I threw the watch out the window and it exploded. Mimes, people, hotdogs, and dogs and cats flew up into the air. It was like watching fireworks.

It made me think of Coco the Clown. And Julia. And her three holes. And Dr. Lox. It made me think of everything. Everything I once knew. That I...once loved.

But mainly, it made me think of people, mimes, hotdogs, dogs and cats and that bomb that went off.

*Killing View*

"Baker! Ms. Parks is the assassin! I repeat - Parks is the assassin!"

"Copy. I'll just poison her drink."

"Be careful."

"I will." I opened up the vial and realized I was out of poison again.

Time to go to the poison store.

*All Your Last Chances*

"We have 39 seconds."

"How many seconds now?"

"37."

"And now?"

"36."

"Well, the clock works."

*From Scandinavia with Love*

"Klinger - it's Baker. I cracked the code."

"Good man! We may just come through alive. What does the cipher say?"

"It says that they are attacking at midnight - in Rio."

"Rio!"

"Now to find out if they mean the city or that woman in the Duran Duran song."

*Spies Alive*

"It's Baker. I see our target. They are the two with the cheeseburgers in the corner. The male has a mustache and the woman doesn't."

"I need more description. I have a bead on the entire restaurant, but I can't depend on that description."

"The female is wearing a Chewbacca mask."

"Roger.

title: [HM] Baker, Spy Guy

question: What does the text say about Baker's love life?

text: Jessica is not Baker's love interest. They just work together.

category: accuracy

answer: Jessica is Baker's love interest. She calls him on the phone whenever she needs to meet with him. There is another girl in the past, Julia, whom Baker still thinks of once in a while. She is a spy like him. Baker thinks she's beautiful, and he loved him.

answer_source: Human misleading

text: "Jessica is Baker's love interest. She calls him on the phone whenever she needs to meet with him." This part of the answer is inaccurate. It is not stated that Jessica is Baker's love interest but we can see him flirting with her over the phone.

text: "She is a spy like him."  - It is not stated in the text that Julia was a spy.

text: "and he loved him. " - Julia is a women so " he loved her"

category: coherence

text: Should be mentioned that Baker regrets things not working out with Julia in the past.

category: coverage

answer: Jessica is Baker's love interest. She calls him on the phone whenever she needs to meet with him. There is another girl in the past, Julia, whom Baker still thinks of once in a while. She is a spy like him. Baker thinks she's beautiful, and he loved him.

answer_source: Human

text: "him" should be "her".

text: The response contains inaccurate information.

text: "She is a spy like him." - this is inaccurate. Julia is not a spy. She's just a woman Baker loved.

text: "him" - change to "her"

text: It's inaccurate that Julia is a spy like him.

text: There is an additional 'her' in the last sentence.

text: "him" in the last sentence should be "her".

answer: No answer

answer_source: Model

text: The answer should mention the woman Baker loved.

text: The answer should mention the woman Baker loves.

text: The answer should mention Baker's love for Julia.

text: The answer should mention the woman Baker misses.

text: The response misses to mention that Baker used to love Julia but it seems like they are no longer together.

text: The text implies that Baker's love life is not going well.

text: Doesn't mention his dead lover, Julia.

text: The answer should mention Baker's love for Julia and the three holes she had.

answer: Jessica is Baker's love interest. She calls him on the phone whenever she needs to meet with him. There is another girl in the past, Julia, whom Baker still thinks of once in a while. She is a spy like him. Baker thinks she's beautiful, and he loved him.

text: It's not clear what Baker's exact relationship with Jessica is. It may be best to omit details about her.

text: "he loved him" should be "he loved her".

text: It's not clear if Julia was a spy. This should be omitted.

answer: No answer

answer: Jessica is Baker's love interest. She calls him on the phone whenever she needs to meet with him. There is another girl in the past, Julia, whom Baker still thinks of once in a while. She is a spy like him. Baker thinks she's beautiful, and he loved him.

text: "him" should be "her".

text: There is no evidence that Julia is a spy.

text: The answer says Baker loved Julia, which is false. Also, Baker is a man, not a woman.

text: The response lacks the context of Julia's description in the text.

text: "him" should be "her".


text:
LEONORA MARY JOHNSON[1] (24 July 1902 – 1 May 2000), known professionally as NORA SWINBURNE, was an English actress. She is best known for her appearances in many British films.

Early years

Swinburne was born in Bath, Somerset, the daughter of Henry Swinburne Johnson and his wife Leonora Tamar (née Brain). She was educated at Rosholme College, Weston-super-Mare, and studied for the stage at the Royal Academy of Dramatic Art. As a member of Clive Currie's Young Players in 1914, she appeared at the Grand, Croydon, Court and Little Theatres, during that year.

In 1914 she attended an audition with the ballerina Phyllis Bedells and later Anna Pavlova who considered her too young, even if very talented, for the corps de ballet. Nora instead joined the Italia Conti school where she obtained her first real part as a child actress in Where the Rainbow Ends. She performed in the show in London and in all the big cities of Britain for eighteen shillings (90p) a week.[2]

At the end of 1915 she gained a place at the Royal Academy of Dramatic Art. While still a student at the Academy she appeared at the New Theatre on 11 April 1916 as the Wild Flowers in _Paddly Pools_; appeared at the Comedy Theatre, September 1916, as a dancer in the revue, _This and That_; and in October 1916 appeared in _Samples_ at the Globe Theatre (now the Gielgud Theatre). She also appeared at the Globe in March 1917 as Gabrielle in _Suzette_. Other early roles included Lulu in _Yes, Uncle!_ at the Prince of Wales Theatre in December 1917, and Regina Waterhouse at the Strand Theatre in December 1918.

At the Apollo Theatre in 1919 she played the title role in _Tilly of Bloomsbury_ “for about six weeks”, according to her personal notes in _Who's Who in the Theatre_, followed by the role of Roselle in _The Betrothal_ at the Gaiety in January 1921, concluding the year with what she charmingly called “several cinema plays”.[3]

Stage career

Subsequent theatre roles included:

-   Miss Dale Ogden in _The Bat_, St James's Theatre, January 1922
-   Evadne in _The Mountebank_, Lyceum Theatre, New York, May 1923
-   Sheila in _Mary, Mary, Quite Contrary_, Belasco Theatre, New York, September 1923
-   Lorna Webster in _In the Next Room_, St Martin's Theatre, London, June 1924
-   Veronica Duane in _You and I_, The Little Theatre, John Adam Street, London WC1, December 1924
-   Joan Lee Tevis in _Tarnish_, Vaudeville Theatre, March 1925
-   Nora in _Number 17_, New Theatre, August 1925
-   Marion Lennox in _The Best People_, Lyric Theatre, March 1926
-   Lady Blair in _Regatta_, and Ann in _Outward Bound_ by Sutton Vane, Prince of Wales Theatre, January 1928
-   Susan Cunningham in _The Fourth Wall_, Haymarket, February 1928
-   Hyacinth in _Out She Goes_ Criterion Theatre, December 1928
-   Sonia in _Fame_, St James's Theatre, February 1929 (108 performances[4])
-   Sylvia Arnitage in _Murder on the Second Floor_, Lyric Theatre, June 1929
-   Yolande Probyn in _Lady Clara_, Booth Theatre, New York, April 1930
-   Betty Mainwaring in _Lucky Dip_, Comedy Theatre, October 1930
-   Laurel Prescottin in _The Ninth Man_, Prince of Wales Theatre, February 1931
-   Helen in _Disturbance_, Grafton Theatre, July 1931
-   Fay d’Allary in _The Gay Adventure_, Whitehall Theatre, December 1931
-   Lady Moynton in _Never Come Back_, Phoenix Theatre, October 1932
-   Anne Vernon in _It’s You I Want_, Daly's Theatre, February 1933
-   Sybil Kingdom in _The Old Folks at Home_, Queen’s Theatre, December 1933
-   Helen Storer in _Lovers’ Leap_, Vaudeville Theatre, October 1934
-   Phyllis Manton in _All Rights Reserved_, Criterion Theatre, April 1935
-   Helen Westdrake in _Disturbance_ (for Charta Theatre), Westminster Theatre, May 1935
-   Marie in _Sauce for the Gander_, St Martin's Theatre, January 1936
-   Judith Godfrey in _The King’s Leisure_, Daly’s Theatre, May 1936
-   Louise Dexter in _The Astonished Ostrich_, Duke of York's Theatre, December 1936
-   Tony Campion in _Wise To- Morrow_ (Stephen Powys), Lyric Theatre, February 1937 (first co-starring with future husband Esmond Knight as Peter Marsh)
-   Lady Hazel in African Dawn, Daly’s Theatre, May 1937
-   Maryka in _The Laughing Cavalier_, Adelphi Theatre, October 1937
-   Edith Cartrwright in _Dodsworth_, Palace Theatre, February 1938
-   Dinah Lot in _Lot’s Wife_ (for London International), Duke of York’s Theatre, April 1938; then under her own management at the Whitehall Theatre, June 1938; subsequently transferring to the Aldwych and Savoy Theatres.
-   Fanny Grey in _Autumn Crocus_, King’s Theatre, Hammersmith, April 1939
-   Ann Mordaunt in _Third Party Risk_, St Martin’s Theatre, May 1939
-   Mrs Oswald Pink in _Married For Money_, Aldwych Theatre, November 1939
-   Frances Courtenay in _The Peaceful Inn_, Duke of York’s Theatre, May 1940
-   Mrs. Purdie in _Dear Brutus_ (Barrie), Globe Theatre, January 1941
-   Sorel Tree in _Ducks and Drakes_, Apollo Theatre, November 1941
-   Carole Markoff in _Full Swing_, Palace Theatre, April 1942
-   Succeeded Valerie Taylor as Natalia Petrovna in _A Month in the Country_, St James’s Theatre, August 1943
-   Succeeded Diana Wynyard as Sara Muller in _Watch on the Rhine_, Aldwych Theatre, October 1943
-   Diana Wentworth in _The Years Between_, Wyndham’s Theatre, January 1945 (“which ran for over a year.”)
-   Lady Clare Marten in _Miranda_, Embassy Theatre, June 1947
-   Elsa Meredith in _Honour and Obey_, Saville Theatre, November 1947
-   Caroline Ashley in _Caroline_, Arts Theatre, March 1949
-   Jane Cooper in _Red Letter Day_, Garrick Theatre. February 1952
-   Mrs. Arbuthnot in _A Woman of No Importance_, Savoy Theatre, February 1953
-   Naomi Martyn in _The Secret Tent_, Grand Theatre, Blackpool, October 1954
-   Mrs. Astley in _The Lost Generation_, Garrick Theatre, June 1955
-   Adelaide Lovell in _The Call of the Dodo_, Theatre Royal, Nottingham, October 1955
-   Catherine Hayling in _Fool’s Paradise_, Apollo Theatre, April 1959
-   Diana in _I Seem To Know Your Face_, Everyman Theatr, Cheltenham, June 1960
-   Chief Minister’s Wife in _Music at Midnight_ (Peter Howard), Westminster Theatre, May 1962; subsequently touring the US, January 1963
-   Liz in _All Good Children_, Hampstead Theatre Club, April 1964
-   Violet in _The Family Reunion_, 69 Theatre Company, Manchester, October 1973
-   Julia Shuttlethwaite in _The Cocktail Party_, 69 Theatre Company, Manchester, September 1975

Filmography

-   _Branded_ (1920) as Doris Jerningham
-   _Saved from the Sea_ (1920) as Nancy Brooks
-   _The Fortune of Christina McNab_ (1921) as Christina McNab
-   _The Autumn of Pride_ (1921) as Peggy Naylor
-   _Alone in the Jungle_ (1922) as Lydia Gyldendal
-   _Wee MacGregor's Sweetheart_ (1922) as Jessie Mary
-   _The White Desert_ (1922) as Karin
-   _Hornet's Nest_ (1923) as Lady Rona
-   _The Unwanted_ (1924) as Joyce Mannering
-   _His Grace Gives Notice_ (1924) as Cynthia Bannock
-   _A Girl of London_ (1925) as Vee-Vee
-   _One Colombo Night_ (1926) as Jean Caldicott
-   _Alf's Button_ (1930) as Lady Isobel Fitzpeter
-   _Caste_ (1930) as Esther Eccles
-   _These Charming People_ (1931) as Julia Berridge
-   _A Man of Mayfair_ (1931) as Elaine Barclay
-   _Potiphar's Wife_ (1931) as Lady Diana Bromford
-   _A Voice Said Goodnight_ (1932) as Joan Creighton
-   _Mr. Bill the Conqueror_ (1932) as Diana Trenchard
-   _White Face_ (1932) as Inez Landor
-   _Perfect Understanding_ (1933) as Lady Stephanie Fitzmaurice
-   _Too Many Wives_ (1933) as Hilary Wildely
-   _The Office Wife_ (1934) as Anne
-   _Boomerang_ (1934) as Elizabeth Stafford
-   _Lend Me Your Husband_ (1935) as Virgie Green
-   _Jury's Evidence_ (1936) as Mary Trent
-   _The Gay Adventure_ (1936) as Fay d'Allary
-   _The Lonely Road_ (1936) as Lady Anne
-   _Dinner at the Ritz_ (1937) as Lady Railton
-   _The Citadel_ (1938) as Mrs. Thornton
-   _Lily of Laguna_ (1938) as Gloria Grey
-   _It Happened to One Man_ (1940) as Alice Quair
-   _The Farmer's Wife_ (1941) as Araminta Grey
-   _They Flew Alone_ (1942) as ATA Commandant
-   _The Man in Grey_ (1943) as Mrs. Fitzherbert
-   _Dear Octopus_ (1943) as Edna
-   _Fanny by Gaslight_ (1944) as Mrs. Hopwood
-   _They Knew Mr. Knight_ (1946) as Celia Blake
-   _Jassy_ (1947) as Mrs. Hatton
-   _Good-Time Girl_ (1948) as Miss Mills
-   _The Blind Goddess_ (1948) as Lady Dearing
-   _Quartet_ (1948) as Mrs. Peregrine (segment “The Colonel's Lady”)
-   _The Bad Lord Byron_ (1949) as Lady Jersey
-   _Fools Rush In_ (1949) as Angela Dickson
-   _Marry Me!_ (1949) as Enid Lawson
-   _Christopher Columbus_ (1949) as Joanna de Torres
-   _Landfall_ (1949) as Admiral's Wife
-   _My Daughter Joy_ (1950) as Ava Constantin
-   _The River_ (1951) as The Mother
-   _Quo Vadis_ (1951) as Pomponia
-   _Betrayed_ (1954) as “The Scarf's” Mother
-   _The End of the Affair_ (1955) as Mrs. Bertram
-   _Helen of Troy_ (1956) as Hecuba
-   _The Strange Awakening_ (1958) as Mrs. Friend
-   _Third Man on the Mountain_ (1959) as Frau Matt
-   _Conspiracy of Hearts_ (1960) as Sister Tia
-   _Decision at Midnight_ (1963) as Margaret
-   _A Man Could Get Killed_ (1966) as Lady Frazier (uncredited)
-   _Interlude_ (1968) as Mary
-   _Anne of the Thousand Days_ (1969) as Lady Kingston
-   _Up the Chastity Belt_ (1971) as Lady-in-Waiting

Television appearances

-   _The Forsyte Saga_ (BBC, 1967) as Aunt Hester Forsyte
-   _Fall of Eagles_ (BBC, 1974) as Katharina Schratt

[1] High Court Of Justice Probate, Divorce, And Admiralty Division, Actor Cites Actor In Divorce Suit, Lister v. Lister And Ashley Cooper, _The Times_, Tuesday, 9 February 1932; p. 5.

[2] esmondknight.org.uk family-Nora Swinburne

[3] _Who's Who in the Theatre_ 8th edition (1936).

[4] _Who's Who in the Theatre_ 9th edition (1939).

title: Nora Swinburne

question: Summarize everything that happened in 1921.

text: Swinburne is refencing the films she was in, not plays.

answer: In January 1921, Swinburne had the role of Roselle in The Betrothal at the Gaiety. She finished the year with what she called "several cinema plays". She was referencing the films she participated in. She starred as Christina McNab in The Fortune of Christina McNab. She also played Peggy Naylor in The Autumn of Pride.

text: The answer should mention that Swinburne appeared at the Apollo Theatre in 1919.

text: The answer should mention that Swinburne played the title role in Tilly of Bloomsbury at the Apollo Theatre.

text: The answer should mention that she appeared at the Apollo Theatre in 1919.

text: The answer omits that she appeared at the Apollo Theatre in 1919.

text: The answer should mention the films she was in.

text: The answer should mention the films she participated in were released in 1921.

text: The answer should note that Swinburne played the role of Tilly of Bloomsbury at the Apollo Theatre in 1919.

text: Rather than the last sentence, the answer should point out that 1921 was the year she went to the Royal Academy of Dramatic Arts.

answer: In January 1921, Swinburne had the role of Roselle in The Betrothal at the Gaiety. She finished the year with what she called "several cinema plays". She was referencing the films she participated in. She starred as Christina McNab in The Fortune of Christina McNab. She also played Peggy Naylor in The Autumn of Pride.

answer: In January 1921, Swinburne had the role of Roselle in The Betrothal at the Gaiety. She finished the year with what she called "several cinema plays". She starred in the plays as Christina McNab in The Fortune of Christina McNab. She also played Peggy Naylor in The Autumn of Pride.

text: The answer omits that Swinburne appeared in the Apollo Theatre in 1919.

text: The answer omits that Swinburne appeared in the films "Saved from the Sea" and "Branded" in 1920.

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

text: Swinburne appearing in The Fortune of Christina McNab and The Autumn of Pride is not relevant to the question.

text: "She starred in the plays" should be "She also starred in the plays"

text: Just add in the film titles

answer: In 1921, Nora joined the Italia Conti school where she obtained her first real part as a child actress in Where the Rainbow Ends. She appeared in The Betrothal at the Gaiety Theatre and concluded the year with what she charmingly called several cinema plays.

text: The response inaccurately mentions Nora joining the Italia Conti school in 1921, however according to the text, this occurred in 1914.

answer: In January 1921, Swinburne had the role of Roselle in The Betrothal at the Gaiety. She finished the year with what she called "several cinema plays". She starred in the plays as Christina McNab in The Fortune of Christina McNab. She also played Peggy Naylor in The Autumn of Pride.

answer: In 1921, Nora joined the Italia Conti school where she obtained her first real part as a child actress in Where the Rainbow Ends. She appeared in The Betrothal at the Gaiety Theatre and concluded the year with what she charmingly called several cinema plays.

text: "In 1921, Nora joined the Italia Conti school where she obtained her first real part as a child actress in Where the Rainbow Ends." - this happened in 1914, not 1921.

text: Swinburne joined the Italia Conti school in 1914.

text: The response inaccurately mentions that she joined the Italia Conti school in 1921, however it was 1914.

text: The response contains inaccurate information.

text: Incorrectly mentions that 1921 was Nora's first appearance in the Royal Academy of Dramatic Art, however that appearance was in 1916.

text: The answer should mention the movies The Fortune of Christina McNab and Autumn of Pride.


text:
YAZUR (, ) was a Palestinian Arab town located east of Jaffa. Mentioned in 7th century BCE Assyrian texts, the village was a site of contestation between Muslims and Crusaders in the 12th-13th centuries.

During the Fatimid period in Palestine, a number of important people were born in Yazur. In modern times the town was the birthplace of Ahmed Jibril, the founder and current head of the Popular Front for the Liberation of Palestine – General Command (PFLP-GC).

The Israeli town of Azor now stands on the former town lands of Yazur, which was depopulated and mostly destroyed during the 1947–48 Civil War in Mandatory Palestine.

History

Iron Age

The village is mentioned in the annals of the Assyrian ruler Sennacherib (704 – 681 BCE) as _Azuro_.[1]

Fatimid, Crusader, Ayyubid and Mamluk eras

The Arab geographer Yaqut al-Hamawi (1179–1229) described Yazur as a small town[2] that was the birthplace of several important figures during the Fatimid period, most prominent among them, al-Hasan ibn ´Ali al-Yazuri, who became a Fatimid minister in 1050 CE.[3] In the twelfth and thirteenth centuries CE, Muslim and Crusader forces fought for control of the village and it changed hands several times, before finally falling under the control of the Mamluks.[4]

Ottoman era

[Maqam (shrine) of Imam ´Ali, ca. 1887] During early Ottoman rule in Palestine, the revenues of the village of Yazur were in 1557 designated for the new waqf of Hasseki Sultan Imaret in Jerusalem, established by Hasseki Hurrem Sultan (Roxelana), the wife of Suleiman the Magnificent.[5] In 1586, the Maqam Imam ´Ali in Yazur was seen by Jean Zuallart, who described it as follows: “....a little further was a square mosque with nine little cupolas. Across the road there is a well or cistern.”[6] In the 1596 tax records, Yazur was a village in the _nahiya_ (“subdistrict”) of Ramla, part of Sanjak of Gaza. It had a population 50 Muslim households, an estimated 275 persons. The villagers paid a fixed tax rate of 33,3% for the crops that they cultivated, which included wheat, barley, fruit, and sesame as well as on other types of property, such as goats and beehives; a total of 19,250 akçe. All of the revenue went to a Muslim charitable institurion.[7] In 1602, Seusenius described the Maqam Imam ´Ali as “a mosque with nine cupolas the one in the middle being the highest”.[8]

The Syrian Sufi teacher and traveller Mustafa al-Bakri al-Siddiqi (1688-1748/9) who travelled in the region in the first half of the eighteenth century, and Mustafa al-Dumyati (d. 1764) reported visiting the shrine of a sage called Sayyiduna (“our master”) Haydara in Yazur.[9] The village appeared named _Jazour_ on the map that Pierre Jacotin compiled in 1799.[10]

In 1863 Victor Guérin visited.[11] While still under the rule of the Ottoman Empire in 1870, Charles Netter from Alliance Israélite Universelle founded the Mikveh Israel southeast of Jaffa. Through a firman of the sultan, he received land for the school which until then had been worked by the fellahin of the village of Yazur. In a _Survey of Western Palestine_ (1882), it is noted that, “Though the land belongs to the Government, the Fellahin, from long usage, have got to look upon it as virtually their own, and resent its occupation by any other person.” The peasants therefore became bitter enemies of the school farm.[12]

In the late summer of 1870, the governor of Damascus visited Jaffa. Accompanied by Netter and two Templars, Hoffmann and Ernst Hardegg, the governor also passed by Yazur:

  While riding between Natter's property and the city, the Wali was beset by Arab women and men who begged him, holding onto the reigns of his mule, and onto his trousers, to help them regain their rights, the Jews were taking away their land; here they pointed at Natter, who rode next to the Wali, screaming “the Jews, the Jews.” The Pasha, riding on the other side, asked Ernst for his riding crop and chased them away himself. The Wali accepted a petition handed him by a _shaykh_, incidentally.[13]

The PEF's _Survey of Western Palestine_ also reported that in 1882 the village structures were built of adobe brick with dispersed gardens and wells, and that Yazur contained a domed shrine.[14]

British mandate era

Modern Yazur was divided into four quarters, one for each of four clans (_hama´il_, sing. _hamula_) that lived there. The houses were made of stone or adobe brick and straw and were built in groups called _ahwash_ (pl. of _hawsh_, “courtyard”). Each house in such a group opened onto a common courtyard that had a single entrance, often an arched gate. The village had two elementary schools, one for boys (built in 1920) and another for girls (opened in 1933). The boys´school occupied 27 dunums (the bulk of which was allocated for training students in agronomy) and had its own artesian well. In 1947, 430 boys and 160 girls were registered in these schools. The remains of an old Crusader church built by Richard the Lionheart in 1191, called _Castel des Plaines,_ were visible on a hill inside the village. The Crusader church had been rebuilt to serve as Yazur's mosque.

In the 1922 census of Palestine conducted by the British Mandate authorities, Yazur had a population of 1,284 residents, all Muslims,[15] increasing in the 1931 census to 2,337 inhabitants in 419 houses.[16]

According to the 1945 census, Yazur had a population of 4,030, mostly Muslim Arabs with a small Arab Christian community of 20 people.[17][18] Agriculture constituted the backbone of the economy; in 1944, citrus was planted on 6,272 dunums and 1,441 dunums were allocated to cereals. Agriculture was both rainfed and irrigated; 1,689 dunums were irrigated or used for orchards. During World War II, the villagers also started raising Holstein cows, and by 1947 numerous artesian wells were being used for irrigation.[19]

[Yazur 1929 1:20,000] [Yazur 1945 1:250,000]

Lead-up to 1947-1948 war, and after

The Filastin newspaper reported that on December 11, 1947, members of a pro-Zionist armed group drove at high speed through the town, throwing bombs at a barbershop and a coffeehouse. They did not cause any fatalities. However, Aref al-Aref reports that one week later, on the 18th of December, more Zionist troops returned, this time disguised as British soldiers. Driving through the main road they threw several bombs at a coffeehouse, killing six villagers.[20] Filastin reported that on 30 December, yet another Zionist raiding party had tried to blow up village houses. This group had been discovered by the village guards, and driven away.[21] More attacks followed early 1948.[22] The largest came on 12 February, when Yazur and Abu Kabir were attacked by mortars and machine-guns. Several houses in Yazur were destroyed.[23] Attacks followed almost weekly, including on 20 February when Zionist forces attacked the village with tanks and armoured vehicles, destroying an ice factory, two houses, and killing one villager and wounding another four.[24][25]

Yazur was depopulated during the 1947–48 Civil War in Mandatory Palestine, weeks prior to the outbreak of the wider 1948 Arab-Israeli War, during the Haganah's offensive Operation Hametz 28–30 April 1948. This operation was held against a group of villages east of Jaffa, including Yazur. According to the preparatory orders, the objective was “opening the way [for Jewish forces] to Lydda”. Though there was no explicit mention of the prospective treatment of the villagers, the order spoke of “cleansing the area” [_tihur hashetah_].[26] The final operational order stated: “Civilian inhabitants of places conquered would be permitted to leave after they are searched for weapons.” Soldiers were instructed to not harm women and children “insofar as possible” and to not loot captured villages.[27]

The village today

According to Walid Khalidi, 1992, two shrines still remain standing in the village. One is made of stone and its roof is topped with a dozen domes clustered around a more prominent dome at the center. A number of other structures and houses are also still intact; some are utilized, while others are vacant. One house, occupied by a Jewish family, is a two-storey concrete unit that has a rectangular door and a modified gabled roof.[28]

[Maqam (shrine) of Shaykh al-Katanani, 2008] According to Petersen, the small mosque/shrine located at a distance of some 50 meters from Maqam Imam ´Ali, on the opposite side of the road was known as Shaykh al-Katanan. Inspected in 1991, it was found to be built on a square plan with a shallow dome resting on an octagonal drum. The building is entered through a doorway in the middle of the north side. Inside there are windows on the west and east side flanked by niches. In the middle of the south wall is a shallow niche, which was found decorated with inscriptions painted in henna.[29]

[Maqam (shrine) of Imam ´Ali, 2008] According to Meron Benvenisti, 2000, in the village of Yazur lies the venerated grave of Imam ´Ali, a famous miracle-worker whose grave is purported to be located in another dozen places as well. But the Yazur site, a massive building whose central dome is encircled by nine smaller ones, is most widely held to be the actual burial site of Imam ´Ali, whose tomb is almost the sole monument left in the village. Two or three broken gravestones remain in the adjoining Muslim cemetery, which now serves as a dump for “yard trash only.” The tomb building now houses the Sha´arei Zion Synagogue and a seminary for Orthodox Jews. On the roof, beside the domes, a satellite dish has been installed to receive live religious broadcasts. Across the road, in the Holon industrial park, is located yet another Muslim holy site, this one deserted and falling into pieces.[30]

Persons associated with Yazur

-   Ahmed Jibril - founder and head of PFLP-GC
-   Hassan ibn Ali al-Yazuri - The Sunni vizier and chief judge of Fatimid ruler Al-Mustansir Billah, from 1050-58[31]

[1]

[2] le Strange, 1890, p. 553

[3]

[4]

[5] Singer, 2002, p. 50

[6] Zuallart, 1587, part III, p.112. Translated and quoted in Petersen, 2001, p. 311

[7] Hütteroth and Abdulfattah,1977, p. 155. Quoted in

[8] _Martinus Seusenius' reise in das Heilige Land i.j. 1602/03_ Cited in Petersen, 2001, p. 311

[9]

[10] Karmon, 1960, p. 171

[11] Guérin, 1868, pp. 26-29

[12] Conder and Kitchener, 1882, SWP II, pp. 256 f. Quoted in Schölch, 1993, p.281.

[13] _Die Warte_, 29 September 1870, Quoted in Schölch, 1993, p. 281.

[14] Conder and Kitchener, 1882, SWP II, p. 258, Quoted in Khalidi, 1992, p. 261

[15] Barron, 1923, Table VII, Sub-district of Jaffa, p. 20

[16] Mills, 1932, p. 16

[17]

[18]

[19]

[20] _Filastin_, 12.12.1947 and Aref, cited in Khalidi, 1992, p. 261

[21]

[22] _Filastin_, 09.01.1948 and 31.01.1948, cited in Khalidi, 1992, pp. 261-2

[23] _Filastin_, 14.02.1948, cited in Khalidi, 1992, pp. 261-2

[24] _Filastin_, 21.02.1948, Khalidi, 1992, p. 262

[25] Morris, 2008, p. 100

[26] HGS\Operations to Alexandroni, etc., "Orders for Operation “Hametz”, 26 Apr. 1948. IDFA 6647\49\\15. Cited in Morris, 2004, pp. 217, 286

[27] Operation Hametz HQ to Givati, etc., 27 Apr. 1948, 14:00 hours, IDFA 67\51\\677. See also Alexandroni to battalions, 27 Apr. 1948, IDFA 922\75\\949. Cited in Morris, 2004, pp. 217, 286

[28]

[29] Fisher et al. 1996. Cited in Petersen, 2001, p. 312

[30] Benvenisti, 2000, p. 292

[31]

title: Yazur

question: Summarize the significant events that contributed to the progress of Yazur in the Ottoman Era.

text: The villagers began paying tax in 1596, not 1597.

answer: In the Ottoman era, the revenues of the village of Yazur were designated for the new waqf of Hasseki Sultan Imaret in Jerusalem. The Maqam Imam 'Ali in Yazur was seen by Jean Zuallart in 1586, who described it as a square mosque with nine little cupolas. In the village's 1596 tax records, Yazur was a village in the nahiya of Ramla, part of the Sanjak of Gaza. It had a population of 50 Muslim households, an estimated 275 persons. The villagers paid a fixed tax rate of 33.3% for the crops they cultivated, including wheat, barley, fruit, and sesame. All of the revenue went to a Muslim charitable institution. Seusenius described the Maqam Imam 'Ali as a mosque with nine cupolas, the one in the middle being the highest. The Syrian Sufi teacher and traveler Mustafa al-Bakri al-Siddiqi, who traveled in the region in the first half of the eighteenth century, and Mustafa al-Dumyati reported visiting the shrine of a sage called Sayyiduna (“our master”) Haydara in Yazur.

text: It is omitted that in 1870, Charles Netter from Alliance Israélite Universelle founded the Mikveh Israel southeast of Jaffa. Through a firman of the sultan, he received land for the school which until then had been worked by the fellahin of the village of Yazur.

text: It is omitted that in 1882 the village structures were built of adobe brick with dispersed gardens and wells,

text: The last sentence is irrelevant.

answer: In 1557, the revenues of the village of Yazur was designated for the new waqf of Hasseki Sultan Imaret in Jerusalem. In 1596, the villagers would pay a fixed tax rate of 33.3% for the crops they cultivated. All of the revenue went to a Muslim charitable institution. In 1799, the village appeared under the name "Jazour" on the map that Pierre Jacotin compiled. In 1870, Charles Netter from Alliance Israélite Universelle founded the Mikveh Israel southeast of Jaffa. Through a firman of the sultan, he received land for the school which until then had been worked by the fellahin of the village of Yazur. The peasants then became bitter enemies of the school farm.

text: The information about 1799 doesn't really describe a significant event. It would be better to omit.

text: The Israelite school isn't a positive thing for Yazur.

text: The answer fails to mention how the governor of Damascus was able to listen to the complaints of the Arabs that the Jews were taking away their rights and land, and chased them off.

answer: In 1557, the revenues of the village of Yazur was designated for the new waqf of Hasseki Sultan Imaret in Jerusalem. In 1596, the villagers would pay a fixed tax rate of 33.3% for the crops they cultivated. All of the revenue went to a Muslim charitable institution. In 1799, the village appeared under the name "Jazour" on the map that Pierre Jacotin compiled. In 1870, Charles Netter from Alliance Israélite Universelle founded the Mikveh Israel southeast of Jaffa. Through a firman of the sultan, he received land for the school which until then had been worked by the fellahin of the village of Yazur. The peasants then became bitter enemies of the school farm.

text: The answer omits the visit of the governor of Damascus in 1870.

text: The answer omits the events of the British mandate era.

text: The answer should mention the mosque.

text: The response could include more information about the Ottoman era.

text: The answer should mention the Sufi teacher who visited the village.

text: During the Fatimid period in Palestine, a number of important people were born in Yazur. Include this event too.

answer: In the Ottoman era, the revenues of the village of Yazur were designated for the new waqf of Hasseki Sultan Imaret in Jerusalem. The Maqam Imam 'Ali in Yazur was seen by Jean Zuallart in 1586, who described it as a square mosque with nine little cupolas. In the village's 1596 tax records, Yazur was a village in the nahiya of Ramla, part of the Sanjak of Gaza. It had a population of 50 Muslim households, an estimated 275 persons. The villagers paid a fixed tax rate of 33.3% for the crops they cultivated, including wheat, barley, fruit, and sesame. All of the revenue went to a Muslim charitable institution. Seusenius described the Maqam Imam 'Ali as a mosque with nine cupolas, the one in the middle being the highest. The Syrian Sufi teacher and traveler Mustafa al-Bakri al-Siddiqi, who traveled in the region in the first half of the eighteenth century, and Mustafa al-Dumyati reported visiting the shrine of a sage called Sayyiduna (“our master”) Haydara in Yazur.

text: The answer should mention the Ottoman Empire's firman.

text: The answer should mention the Ottoman Empire's rule over the village.

text: The answer should mention the attack on the village.

text: The answer omits the Ottoman-era attack on the village.

text: The answer omits the visit of Victor Guérin in 1863.

text: The answer could mention the Ottoman Empire's reaction to the petition.

text: The answer is a copy-and-paste from the passage, and it's hard to identify which events are the most significant.

text: "it as a square mosque with nine little cupolas." - this is redundant as it was also mentioned towards the end.

answer: In 1557, the revenues of the village of Yazur was designated for the new waqf of Hasseki Sultan Imaret in Jerusalem. In 1597, the villagers would pay a fixed tax rate of 33.3% for the crops they cultivated. All of the revenue went to a Muslim charitable institution. In 1799, the village appeared under the name "Jazour" on the map that Pierre Jacotin compiled. In 1870, Charles Netter from Alliance Israélite Universelle founded the Mikveh Israel southeast of Jaffa. Through a firman of the sultan, he received land for the school which until then had been worked by the fellahin of the village of Yazur. The peasants then became bitter enemies of the school farm.

text: The answer should mention the Maqam Imam 'Ali.

text: The answer omits the part about the Maqam Imam 'Ali.

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

text: The third sentence of the response is written awkwardly.

text: The answer omits the most significant event of the Ottoman era for Yazur, the visit of the governor of Damascus in 1870. The governor was accosted by the Yazur populace, who begged him to help them regain their rights. The governor accepted the petition and chased away the people who were screaming "the Jews, the Jews."

text: Add a "no"


text:
Come Fly With Me

	We are strolling along 3rd Street in Santa Monica, again, and our conversation, again, has turned stale.
 Again, because we are again at yet another start of our relationship, like the fourth or fifth time really. We
 don't talk for six months then we start all over, small talk and getting to know each other and first dates all
 over
again. Not fourth or fifth time we have tried to make it work, but maybe really the fourth or fifth time that we
 have forgotten why we donít work out together (because you are a self absorbed, emotionally void prick) and
then we run into each other (usually in some bizarre place where we find that we have yet another thing in
 common) and exchange conversation (really just witty one liners) that made us remember what we liked about
 each other (and that I don't remember because I haven't run into you in a while).
	We walked arm in arm, silent, with both my arms holding onto your one arm. We stop to watch one of the
 street performers. Some Asian idiot with like thirty bowls threw them up in series of like three bowls at a time,
 then caught them on his head until he had al thirty bowls up there. Some people just have that knack for
 balance I guess. They are able to throw everything up in the air and have everything land all choreographed
 and perfect right on top of they're fucking heads.
	I put my hand on your neck and slowly run my fingers through your short hair. I always liked that despite
 everything, any adversity or state of strife, you always kept your hair nice and short. I run my hair up the back
 again and feel the top of your head. It is all bumpy and uneven. Ha, you probably wouldnít even be able to
 catch one bowl. I touch the top of my head. Hmmm, bumps and lumps and bulges, but one flat spot in the back.
	The man ends with thirty bowls balanced on various locations on his petite, sinewy little body. The crow cheers and people smile. We walk away before he asks for tips.
	We walk up to the sushi restaurant that we had reservations at. You suggest that we sit outside.
	Some things never change. You order the same sushi that you have ordered since the first date we ever
 went on. The same tuna that I can never remember the name of or how they prepare it whenever I eat sushi
 without you. The name I just canít quite remember and the waitress can never guess it correctly. Even writing
 this now I can't remember what the name is.
	But you order it and I tell her I will have the same. And we sip our hot saki and look at each other from
 across the table. A list of my vices runs through my head: thin boys with dark hair and light eyes and pale
 skin, smoking, drinking...
	I see you have dyed your hair black, it suits you well.Suits me well because it is attractive or suits me
 well because it is black? You look away with that drawn out smirking smile. The sound of your voice has that
 slightly effeminate quality to it, with exaggerated ups and downs.
	You look back up at me. In my eyes. What is important here is that you donít look anyone in the eyes
 when you talk to them. It is quite bizarre really. Maybe a habit from doing drugs, maybe because your big
 black pupils give you away. I can know you and know you, and never really know what the fuck you are
 thinking. If you are really here or somewhere else. I remember a girlfriend told me once there was only one
 part of a man she could ever figure out.
	Did you call me to fuck me or be friends?í I ask this very candidly hoping to achieve some shock value
 that would result in honesty.I don't know. God, fucking honesty. Half of me wants to fuck your brains out and
 the other part of me wants to be friends. Fuck honesty, this is too confusing. What am I doing here? How many
 other times have I been in this same exact moment? I set myself up for deja vu.
	What do you think? you ask me, looking at me.Honestly, I do not know what to think. I could go either
 way, I guess.Fuck me, I have been here a million times and no matter if I give the fuck or friend answer, I
 always end up with the fuck.
	You really are gorgeous. You look at me with those fuck me eyes. Those light green, dark hair, light skin
 fuck me eyes. But you know that. And it is true. I do know that. Too bad just being gorgeous cannot constitute
 a whole relationship. Too bad for you, I think. But really too bad for me.
	You are quiet tonight. I am wondering really if I want to do this whole routine all over again. The flat spot
 on my head can catch a few bowls, but your head would never catch anything.
	I am quiet every night.í I donít know why I say this, but I just do. Then I quickly jump to something else.
 I donít want you to start thinking that Im thinking about us.
	Wouldn't that just be just to bizarre to be a street performer? Working for tips, juggling and dancing
 around and shit. Spray painting your self with silver spray paint every morning to pretend you are a fucking
 robot. Putting a box one your head and acting like youíre a television.
	You laugh. Some people sit at computer screens everyday for twelve hours inputting numbers. That is
 equally strange.í
	Our sushi arrives and then you read the same sushi script I now know by heart:
	See the juice on the bottom. Thatís lemon juice. Itís acidity cooks the raw fish, and you can see that on
 the top where it is white colored. This is
my favorite. The only thing I have ever ordered and will ever order.The tuna is this little slimy, juicy pink
 mound, the size of my small fist. It is sliced into about ten thin pieces. I am done eating in a few minutes and
 the drink the rest of my miso soup. You are done too and fold your napkin. There is still like three or four
 slices on your plate. And your soup is half full. And you rice has not been touched. You have gone through two
 or three bottles of saki though.
	Nothing is more simultaneously amusing and depressing that the charade of a drug addict pretending to
 eat. I wonder if you feel sick. I wonder what drugs you are on. I look at your collar bones through your shirt
 and cheekbones, and I am sure probably every other bone later tonight.
	You ask if I want the rest of yours or are still hungry for anything else, and I say no. So we light up and
 smoke while we wait for the check.
	So, what on earth should we do for the rest of the evening?í I ask you with tired enthusiasm in my voice.
	Lets just walk. So indefinite, so open. That was just like you.
	We walk along the store fronts and look in but not really seeing. We huddle together because it has
 become quite cold. At the end of 3rd street a man with a key board plays and sings Frank Sinatra.
	Lets stop and listen.í I pull your arm and we sit on a bench off to the side and smoke.
	I want to hear ëCome Fly With Me, tell him. And you walk to him and tell him.
	This is my favorite Sinatra song. And we sit in, huddled together, long after the song stops and the next
 one comes on.
	We could get into a lot of trouble together.í You have often told this to me and I am never quite sure if you mean trouble together or with other people.
	I have been in this exact moment a hundred other times with you. Again, the scheming script:
	So what if I called you and I had a different name, like Miranda or Judith or whatever. And then I said I know so and so and she said that we would really hit it off and we should go out. And we could first date as other people. Totally different people that we could create. Like I would be a
veterinary assistant and you would be a gynecologist named Carlo.í You laughed.
	And then it would be like date rape you know. It would totally be hot.í I was getting into this, ha this would be funny and definitely not boring. And then we would go out, as Carlo and Miranda, and go to dinner and the movies or whatever. Then you would invite me over for a coffee and I would accept because you were so romantic and charming and witty and talk talk. Then after the coffee you would drink a few scotches and start coming on really heavy. And like touching me. And then I would get all upset and tell you stop like five times and then threaten to leave and then you get forceful. I make a break for the door and then you stop me and rape.í
	One question. Why would a gynecologist be living in a studio apartment in Santa Monica?í He laughs. Cause his mansion is being renovated. I donít fucking know. Think big picture. Think rape scene. Think trapped against the wall of your apartment with my arms pinned down by your arms. And Iím wearing a white dress with a black purse.You contemplate this and laugh. ëMe and you could get into a lot of trouble. But I think you already know that.í
	We sit and talk out other schemes, other worlds and lives that are far from our own.Well, Iíll tell you a
 scheme.í You lean in closer. ëWell, you know the guy at the bar, the one that is always there, blond hair,
 maybe light brown. Light eyes and good teeth with a different girl on his arm every night of
the week. Picks fights and rips people off. Has an expensive new truck but hardly works. Great house great
room mates and tons of friends. The guy whose ass everyone kisses.í
	Named Chris or Nick or Tyler or Tony. Yeah, sure those guys are fucking everywhere.Well, we go to the
 bar and find him, Chris, Nick, Tyler Or Tony. Then we lure him back to the car, drug him with rufies, take him
 back with us, then strip him down and leave him all naked in Mexico or San Franís gay bars or whatever.
	Thatís very good, very trouble.í You smile that lets me know this is a good idea.Not really revenge
 oriented, more just for kicks.Yeah, for kicks. You stop and think.We stop talking and listen to Sinatra some
more. Come Fly With Me comes on again.
So which bar do we find him a. Hook, line and sinker. I do believe the contestant has entered into the first
round.The Yucatan.He nods and smiles in agreement.

	So we go out that night, a Friday night. And I really do look fantastic. And we park in the very far back of
 the lot, under a tree where no one can see us. We take your big black truck, for storage of the body
purposes.And tonite I wear a red dress. Blood red. Short and sweet, you can see me across the crowded
bar.And so al night I am talking to different guys, and you watch from across the room, waiting for me to hook
 just the right one. And I will say to him lets have a drink together, along, in my truck. And raise my eyebrows
and lick my lips or fucking whatever to lure this guy back.I am at the bar for like thirty minutes and I head back
 to you.Well, did you get one yet? No theyíre all too nice, I need one that's a real ass.I thought this isn't about
 revenge?
	I look at you dead cold in the eyes, no emotion just plain truth: Well, maybe it is.You just stare back at
 me.I smile and break this tension. Babe, letís go back to the truck and have a drink and a cig. I need a break.
 You grab my hand and we walk out. The night is cold, so we walk fast and you hold me close to your ribby
 chest.
	We get into your truck and light a cigarette. I open the large duffel bag and take out a bottle of Jagermeuster and break the seal. I open a little cooler and pour it into a glass with cloudy ice cubes.For you
 babe.I fix myself one, sans the ice. We sit in silence for a good ten minutes.
	You sip and talk. ëI really like you. I donít know why I do the things I do to you. I donít talk, I just listen.
	ëI am really sorry for the way I treat you sometimes, I really donít know why I do it.í Your voice is
 slurring just a bit. God, I feel drunk, and this is only my second drink. I smile. I just want you to know that I want to be your friend. We can be good friends Yes, I am sure we can.
Your head begins to nod.What the fuck, did you put sommmmeeething in here? You swing your head around at
 me. I smile.
 No you couldnít haaaaaaave. You broke the seal.
	Yes, I broke the seal.
	How thinning?
	The ice cubes, friend. In the ice, dear sweet good friend.í I smile again.
	The ruuuufies?
	Yes, and the cyanide,í I say with a genuine smile this time.
	The cyyyyyyyanide, there was no cyaaaaaaaaanideí Then you get it but are
paralyzed. And you canít hold your head any longer and it lazily flops to the head rest.
	Friend, lover, I was poison from the beginning.í

title: This is a story a girlfriend wrote about me where she kills me. I love it.

question: Describe the guy the narrator was with.

text: "The guy owned a black truck." - the guy owning a truck is irrelevant.

answer: The guy was a drug addict who didn't talk much.

text: The answer should mention that the guy is emotionally void.

text: The answer should mention that the guy is also emotionally void.

text: The guy is also emotionally void and self-absorbed.

text: The answer could include more details about the guy.

text: This answer is missing some key details about the guy.

text: We know he has green eyes and dark hair. He looks stunning in black.

text: The answer should include the guy's hair color and eye color. The response also ought to mention that the guy is emotionally void.

answer: The guy had short hair dyed black and appears to be thin because his collar bones are showing. His voice has a slightly effeminate quality to it with exaggerated ups and downs. According to the narrator, the guy is a self-absorbed, emotionally void prick and drug addict. He can't look anyone in the eyes while he's talking. The narrator thinks it's a habit he got from doing drugs. Despite this, the narrator thinks he's gorgeous, with light green eyes and light skin. The guy owned a black truck.

answer: The guy had short hair dyed black and appears to be thin because his collar bones are showing. His voice has a slightly effeminate quality to it with exaggerated ups and downs. According to the narrator, the guy is a self-absorbed, emotionally void prick and drug addict. He can't look anyone in the eyes while he's talking. The narrator thinks it's a habit he got from doing drugs. Despite this, the narrator thinks he's gorgeous, with light green eyes and light skin.

text: The narrator is female.

text: It's omitted that the guy is into the narrator.

text: The guy's hair is not described as short. It's the narrator's hair that is short.

text: The guy's eyes are green and his skin is pale.

text: It's not clear (and it should be) that the narrator is making the evaluation that he's self-absorbed and emotionally void and a drug addict. The evidence for his drug addiction is that he doesn't talk to anyone about anything but talks about witty one-liners, he's on drugs which changes his behaviour a lot. Specifically the one-liners.

answer: The guy was a drug addict who didn't talk much.

text: The answer should mention that the guy is self-absorbed and emotionally void

answer: The guy had short hair dyed black and appears to be thin because his collar bones are showing. His voice has a slightly effeminate quality to it with exaggerated ups and downs. According to the narrator, the guy is a self-absorbed, emotionally void prick and drug addict. He can't look anyone in the eyes while he's talking. The narrator thinks it's a habit he got from doing drugs. Despite this, the narrator thinks he's gorgeous, with light green eyes and light skin. The guy owned a black truck.

text: The guy's hair is not dyed black. It's the girl's hair that's dyed black.

text: The guy's hair is not dyed black. The girl dyed her hair black.

text: The guy's hair is short, but it's not dyed black.

text: The guy doesn't own a black truck. The narrator does.

text: The guy's eyes are light green, not the narrator's.

text: The guy's hair isn't described as dyed black.

text: From the details in the story, it is hard to say that the guy is thin, or whether his collarbones are showing because of a tight t-shirt or if he resembles Sara with prominent bones. This should be replaced with how the guy always kept his hair nice and short.

answer: The guy had short hair dyed black and appears to be thin because his collar bones are showing. His voice has a slightly effeminate quality to it with exaggerated ups and downs. According to the narrator, the guy is a self-absorbed, emotionally void prick and drug addict. He can't look anyone in the eyes while he's talking. The narrator thinks it's a habit he got from doing drugs. Despite this, the narrator thinks he's gorgeous, with light green eyes and light skin.

text: It is omitted that they were lovers.

text: It is omitted that the narrator put poison in the guy's drink and kills him.


text:
+-----------------------+-----------------------+-----------------------+
|                       |                       | Dave Bresnahan throws |
|                       |                       | out the first potato  |
|                       |                       | before a game at      |
|                       |                       | Class-A Williamsport  |
|                       |                       | this season, the      |
|                       |                       | scene of his infamous |
|                       |                       | potato prank 20 years |
|                       |                       | earlier.              |
+-----------------------+-----------------------+-----------------------+
|                       | Dave Bresnahan throws |                       |
|                       | out the first potato  |                       |
|                       | before a game at      |                       |
|                       | Class-A Williamsport  |                       |
|                       | this season, the      |                       |
|                       | scene of his infamous |                       |
|                       | potato prank 20 years |                       |
|                       | earlier.              |                       |
+-----------------------+-----------------------+-----------------------+
| Dave Bresnahan throws |                       |                       |
| out the first potato  |                       |                       |
| before a game at      |                       |                       |
| Class-A Williamsport  |                       |                       |
| this season, the      |                       |                       |
| scene of his infamous |                       |                       |
| potato prank 20 years |                       |                       |
| earlier.              |                       |                       |
+-----------------------+-----------------------+-----------------------+

On Aug. 31, 1987, Dave Bresnahan was the Michelangelo of potato sculpting. He sacrificed five fine tubers to the spud gods – death via peel – before settling on the correct shape. He drew red lines on the winner to simulate seams, only to see them erased by the potato's weeping. He wielded that peeler like a true artiste.

Because in order to pull off the greatest prank in baseball history, Bresnahan needed to shape a potato like a baseball.

"I went to Williamsport (Pa.) this past weekend to celebrate the anniversary," Bresnahan says today from his Arizona home, 20 years after he ended his career as a catcher for the Double-A Williamsport Bills by feigning to pick off an opponent at third base by chucking a potato into left field, then using the real baseball to tag the runner when he scurried home – a hidden-ball trick to end all hidden-ball tricks.

"They gave away bobbleheads. I'm holding a potato. THERE'S ONE ON EBAY RIGHT NOW. A couple sold for over a hundred bucks this week. For kicks and giggles, I looked up what Barry Bonds' was selling for, and I'm crushing him.

"I really don't understand."

There really isn't much to understand. Baseball is a stately game, sometimes too serious for its own good. There are no end-zone dances, no tongue-wagging after dunks, no cha-cha lines following goals. Should Tommy Lasorda falling on his ample keister really constitute the apotheosis of baseball humor?

No, sir. To allow an idea so unique, so brilliant and so hilarious to fade into history's annals, then, would be disrespectful not only to the game but to the man who hatched the plan and executed it to perfection.

The tater plot started in the bullpen, sanctuary for baseball's bored. Relief pitchers pass the time by scoping out women or making up silly games involving sunflower seeds. As the .149-hitting backup, Bresnahan spent plenty of time in the 'pen, and he broached the idea that had cooked in his mind for years. John Stuart Mill would have been proud of the marketplace of ideas that commenced. A roll of tape would be too light, a rosin bag too fluffy.

"And then it came to me: a potato," Bresnahan says. "Mainly because it sounds funny."

Word filtered around the Bills' clubhouse about Bresnahan's plan, and with the team more than 20 games out of first place, it gave players something to anticipate. The schedule gave Bresnahan a perfect chance. He knew he would play at least one game against the Reading Phillies in an Aug. 31 doubleheader, and the Phillie Phanatic was showing up that day too, ensuring a big crowd.

A few games before potato day, Bresnahan caught a game against the Phillies. He tried to pick a runner off third base, the first piece of bait in his elaborate hornswoggle.

"There was a lot of premeditation in this," Bresnahan says. "I'm kind of anal that way. When I plan something out, I want to make sure the details are covered. In order for this to really work, I needed a guy on third with two outs. When I did it, all the guys on the field would hustle back into the dugout. That way if the umpire ruled against us, we'd have to run back out on the field. And then it's more dramatic."

Earlier that week, Bresnahan called major-league umpire Tim Tschida, a friend of a teammate, and asked how he would rule the potato play. Tschida said he would return the runner to third base, end of story. If it was good enough for Tschida, Bresnahan figured, it worked for him.

In the fifth inning, the time came. Two outs. Runner Rick Lundblade on third. Bresnahan told home-plate umpire Scott Potter the webbing of his glove had broken. Potter allowed him into the dugout, where a glove with the peeled potato waited. Teammates giggled. Bresnahan told them to shut up.

The potato remained in Bresnahan's glove until he called the pitch, an outside slider that had little chance of being put into play. During the windup, Bresnahan transferred the potato to his bare hand.

"It wasn't that bad a throw," Bresnahan says. "It was supposed to be bad. But it was smaller. It was moist. I was nervous. I came up firing. As I threw it, I said, 'Oh, no.' It was headed right toward his helmet. It just missed."

Third baseman Rob Swain, flummoxed by the good throw, tried to sell it by doing his best olé. The potato hit the ground and exploded into three pieces. Lundblade never saw it. He had started running home.

"I tagged him and showed him the ball, then rolled it to the mound and ran toward the dugout," Bresnahan says. "All my teammates buried their faces in their gloves and were laughing. They couldn't move. I told them to get off the field."

Behind the plate, Potter was confused. The third-base umpire ran into the outfield and retrieved the biggest chunk. "It's a (expletive) potato," he yelled to Potter.

"What are you doing?" Potter asked Bresnahan.

"It's just a joke," he replied.

Potter awarded Lundblade home and the scorekeeper charged Bresnahan with an error. Bresnahan wasn't ejected, but Williamsport manager Orlando Gomez yanked him from the game immediately and fined him $50. That night, celebrating over post-game beers, Bresnahan's teammates started a fund to pay the fine.

When Bresnahan showed up at the stadium the following day, Gomez called him in his office. Jeff Scott, farm director of Williamsport's parent team, the Cleveland Indians, was on the phone. Bresnahan knew Scott from their days in the Seattle organization. Scott laughed, told Bresnahan he was an idiot and said he needed to release him.

And thus ended Dave Bresnahan's baseball career. Though he did make one more trip that season to the ballpark. Later that day, Bresnahan returned from the grocery store with huge sacks of potatoes. He placed 50 of them on Gomez's desk.

"I'm always fearful that people think I'm a goofball," Bresnahan says. "I am a prankster. I've got a good sense of humor. But I love baseball.

"I'm a historian. I'm an old-fashioned guy. I've been a season-ticket holder for the Diamondbacks. I coach my kids. Everything I do counters what I'm known for, which is the damn potato."

Paul Harvey called because of the damn potato. So did Harry Caray and countless other baseball emissaries. Bresnahan remains revered in Japan, where, for the 10-year anniversary of the potato caper, a TV station flew him out. They asked him to wear his Bills uniform – "a 10-pound sausage," he says, "into a five-pound casing" – placed him on a throne and carried him through a smoke machine.

Every day someone reminds Bresnahan of the potato, whether at his job as a project manager for a company refurbishing an old Texas sugar plant or through a letter thanking him for bringing levity to a staid game. The potato itself is the prized possession of the Baseball Reliquary, the museum of oddities that DISPLAYS IT IN JAR FILLED WITH DENATURED ALCOHOL.

In January, Bresnahan spent a week at the Diamondbacks' fantasy camp. His fellow campers weren't interested in the vagaries of minor-league life or what it was like to play for Mike Hargrove in A ball. They wanted to know about the potato.

And when he told them about it, they laughed like hell.

question: What does the article say about Besnahan's pranks?

text: The answer should mention the prank he pulled upon being fired (leaving 50 potatoes on Gomez's desk)

answer: Bresnahan is known for his potato prank. He was a catcher for the Double-A Williamsport Bills. He feigned to pick off an opponent at third base by chucking a potato into left field, then using the real baseball to tag the runner when he scurried home. The potato prank ended Bresnahan's baseball career.

answer: Bresnahan pulled off the greatest prank in baseball history by feigning to pick off an opponent at third base by chucking a potato into left field and then using the real baseball to tag the runner. After Jeff Scott, the director of the Cleveland Indians, fired him, Bresnahan bought a sack of potatoes and placed fifty of them on the desk of manager Orlando Gomez.

text: The answer should mention that Bresnahan is a prankster.

text: The answer should mention that Bresnahan was fined $50 for his prank.

text: The answer omits the prank Bresnahan's teammates played on him.

text: The answer should mention the prank he's known for.

text: Does not mention his pranks in the bullpen.

text: The besnahan's prank was taking place at the doubleheader against the Reading Phillies at the time of the event.

answer: Bresnahan is known for his potato prank. He was a catcher for the Double-A Williamsport Bills. He feigned to pick off an opponent at third base by chucking a potato into left field, then using the real baseball to tag the runner when he scurried home. The potato prank ended Bresnahan's baseball career.

text: The answer should mention that Bresnahan's potato prank was the greatest prank in baseball history.

text: The answer omits that Bresnahan's potato prank was the greatest prank in baseball history.

text: The answer should mention that Bresnahan's prank was the greatest in baseball history.

text: The answer should mention that Bresnahan also tried to get revenge by putting 50 potatoes on Gomez's desk.

text: The answer should mention that Bresnahan's prank was a hidden-ball trick.

text: This is a great answer. It also mentions that he did a similar prank a few days prior.

text: The prank is his only prank, it doesn't say this.

answer: Bresnahan pulled off the greatest prank in baseball history by feigning to pick off an opponent at third base by chucking a potato into left field and then using the real baseball to tag the runner.

text: The answer should mention that Bresnahan was fined for his prank.

text: The answer should mention that Bresnahan was fined $50 for the prank.

text: The answer should mention his potato prank 20 years earlier.

text: The answer should mention the prank with the potatoes on Gomez's desk.

text: The answer should mention his potato prank.

text: The answer should mention his prank at the Diamondbacks' fantasy camp.

text: "Bresnahan pulled off the greatest prank in baseball history" - this statement is not true because it's never said in the passage. Replace with "Bresnahan is known for the greatest prank in baseball history"

text: It's omitted that it was doneSo ended Dave Bresnahan's baseball career.

text: It's omitted that the prank ended Dave Bresnahan's baseball career.

answer: Bresnahan pulled off the greatest prank in baseball history by feigning to pick off an opponent at third base by chucking a potato into left field and then using the real baseball to tag the runner. After Jeff Scott, the director of the Cleveland Indians, fired him, Bresnahan bought a sack of potatoes and placed fifty of them on the desk of manager Orlando Gomez.

text: The answer should mention that the potato prank made Besnahan world-famous.

answer: Bresnahan pulled off the greatest prank in baseball history by feigning to pick off an opponent at third base by chucking a potato into left field and then using the real baseball to tag the runner.