input: Various legends relate to al-Askari's wife, Narjis Khatun (the mother of the twelfth Imam, Muhammad al-Mahdi). It is said that al-Askari's father, Ali al-Hadi, wrote a letter in the script of Rum; put it in a red purse, with 220 Dinars; and gave it to his friend Bashar ibn Sulaiman. The letter instructed him to go to Baghdad, to a ferry place on the river where the boats from Syria were unloaded, and female slaves were sold. Bashar was told to look out for a shipowner named Amr ibn Yazid, who had a slave girl who would call out in the language of Rum: "Even if you have wealth and the glory of Solomon the son of David, I can never have affection for you, so take care lest you waste your money." And that if a buyer approached her, she would say "Cursed be the man who unveils my eyebrow!" Her owner would then protest, "But what recourse do I have I; I am compelled to sell you?" "You will then hear the slave answer", said the Imam, "Why this hast, let me choose my purchaser, that my heart may accept him in confidence and gratitude."  Bashar gave the letter, as he was instructed, to the slave girl; who read it, and was not able to keep from crying afterward. Then she said to Amr ibn Yezid, "Sell me to the writer of this letter, for if you refuse I will surely kill myself." "I therefore talked over the price with Amr until we agreed on the 220 Dinars my master had given me," said Bashar. On her way to Samarra, the slave girl would kiss the letter and rub it to her face and body; and when asked by Bashar why she did so despite not knowing the writer of the letter, she said, "May the offspring of the Prophet dispel your doubts!" Later on, however, she gave a full description of the dream she had had, and how she had escaped from her father's palace. A lengthier version of this story is recorded in Donaldson's book, along with further discussion on the authenticity of this story.  Some Shia sources have recorded her as being a "Roman (i.e. Byzantine) princess" who pretended to be a slave so that she might travel from her kingdom to Arabia. Mohammad Ali Amir-Moezzi, in the Encyclopedia of Iranica, suggests that the last version is "undoubtedly legendary and hagiographic".

Answer this question "what did she say?"
output: Then she said to Amr ibn Yezid, "Sell me to the writer of this letter, for if you refuse I will surely kill myself." "

Problem: Background: Dave Holland (born 1 October 1946) is an English jazz double bassist, composer and bandleader who has been performing and recording for five decades. He has lived in the United States for over 40 years. His work ranges from pieces for solo performance to big band. Holland runs his own independent record label, Dare2, which he launched in 2005.
Context: In 1968, Miles Davis and Philly Joe Jones heard him at Ronnie Scott's Jazz Club, playing in a combo that opened for the Bill Evans Trio. Jones told Holland that Davis wanted him to join his band (replacing Ron Carter). Davis left the UK before Holland could contact him directly, and two weeks later Holland was given three days' notice to fly to New York for an engagement at Count Basie's nightclub. He arrived the night before, staying with Jack DeJohnette, a previous acquaintance. The following day Herbie Hancock took him to the club, and his two years with Davis began. This was also Hancock's last gig as Davis's pianist, as he left afterwards for a honeymoon in Brazil and was replaced by Chick Corea when he could not return for an engagement due to illness. Holland's first recordings with Davis were in September 1968, and he appears on half of the album Filles de Kilimanjaro (with Davis, Corea, Wayne Shorter and Tony Williams).  Holland was a member of Davis's rhythm section through the summer of 1970; he appears on the albums In a Silent Way and Bitches' Brew. All three of his studio recordings with Davis were important in the evolution of jazz fusion. In the first year of his tenure with Davis, Holland played primarily upright bass. By the end of 1969, he played electric bass guitar (often treated with wah-wah pedal and other electronic effects) with greater frequency as Davis moved away from acoustic jazz.  Holland was also a member of Davis's working group during this time, unlike many of the musicians who appeared only on the trumpeter's studio recordings. The so-called "lost quintet" of Davis, Shorter, Corea, Holland and DeJohnette was active in 1969 but never made any studio recordings as a quintet. A 1970 live recording of this group plus percussionist Airto Moreira, Live at the Fillmore East, March 7, 1970: It's About That Time, was issued in 2001. Steve Grossman replaced Shorter in early 1970; Keith Jarrett joined the group as a second keyboardist thereafter, and Gary Bartz replaced Grossman during the summer of 1970. By the end of the summer, rhythm and blues bass guitarist Michael Henderson had replaced Holland.
Question: What were the recorded Davis and Holland recorded together?
Answer: he appears on the albums In a Silent Way and Bitches' Brew. All three of his studio recordings with Davis were important in the evolution of jazz fusion.

Question: Sir Henry Irving (6 February 1838 - 13 October 1905), born John Henry Brodribb, sometimes known as J. H. Irving, was an English stage actor in the Victorian era, known as an actor-manager because he took complete responsibility (supervision of sets, lighting, direction, casting, as well as playing the leading roles) for season after season at the Lyceum Theatre, establishing himself and his company as representative of English classical theatre. In 1895 he became the first actor to be awarded a knighthood, indicating full acceptance into the higher circles of British society. Irving is widely acknowledged to be one of the inspirations for Count Dracula, the title character of the 1897 novel Dracula whose author, Bram Stoker, was business manager of the theatre.

In 1878, Irving entered into a partnership with actress Ellen Terry and re-opened the Lyceum under his own management. With Terry as Ophelia and Portia, he revived Hamlet and produced The Merchant of Venice (1879). His Shylock was as much discussed as his Hamlet had been, the dignity with which he invested the vengeful Jewish merchant marking a departure from the traditional interpretation of the role.  After the production of Tennyson's The Cup and revivals of Othello (in which Irving played Iago to Edwin Booth's title character) and Romeo and Juliet, there began a period at the Lyceum which had a potent effect on the English stage.  Much Ado about Nothing (1882) was followed by Twelfth Night (1884); an adaptation of Goldsmith's Vicar of Wakefield by W. G. Wills (1885); Faust (1886); Macbeth (1888, with incidental music by Arthur Sullivan); The Dead Heart, by Watts Phillips (1889); Ravenswood by Herman, and Merivales' dramatic version of Scott's Bride of Lammermoor (1890). Portrayals in 1892 of the characters of Wolsey in Henry VIII and of the title character in King Lear were followed in 1893 by a performance of Becket in Tennyson's play of the same name. During these years, too, Irving, with the whole Lyceum company, paid several successful visits to the United States and Canada, which were repeated in succeeding years. As Terry aged, there seemed to be fewer opportunities for her in his company; that was one reason she eventually left, moving on into less steady but nonetheless beloved stage work, including solo performances of Shakespeare's women.

Using a quote from the above article, answer the following question: What was his role at the Lyceum?
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Answer:
re-opened the Lyceum under his own management.