Background: A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.
Context: The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century, works that had circulated widely in manuscript before they were printed. For a time, burlesque verses were known as poesie bernesca in his honour. 'Burlesque' as a literary term became widespread in 17th century Italy and France, and subsequently England, where it referred to a grotesque imitation of the dignified or pathetic. Shakespeare's Pyramus and Thisbe scene in Midsummer Night's Dream and the general mocking of romance in Beaumont and Fletcher's The Knight of the Burning Pestle were early examples of such imitation.  In 17th century Spain, playwright and poet Miguel de Cervantes ridiculed medieval romance in his many satirical works. Among Cervantes' works are Exemplary Novels and the Eight Comedies and Eight New Interludes published in 1615. The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics.  Burlesque was intentionally ridiculous in that it imitated several styles and combined imitations of certain authors and artists with absurd descriptions. In this, the term was often used interchangeably with "pastiche", "parody", and the 17th and 18th century genre of the "mock-heroic". Burlesque depended on the reader's (or listener's) knowledge of the subject to make its intended effect, and a high degree of literacy was taken for granted.  17th and 18th century burlesque was divided into two types: High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter as, for example, in the literary parody and the mock-heroic. One of the most commonly cited examples of high burlesque is Alexander Pope's "sly, knowing and courtly" The Rape of the Lock. Low burlesque applied an irreverent, mocking style to a serious subject; an example is Samuel Butler's poem Hudibras, which described the misadventures of a Puritan knight in satiric doggerel verse, using a colloquial idiom. Butler's addition to his comic poem of an ethical subtext made his caricatures into satire.  In more recent times, burlesque true to its literary origins is still performed in revues and sketches. Tom Stoppard's 1974 play Travesties is an example of a full-length play drawing on the burlesque tradition.
Question: What was a famous example of Burlesque?
Answer: Exemplary Novels and the Eight Comedies and Eight New Interludes published in 1615.

Background: , Malcolm Denzil Marshall (18 April 1958 - 4 November 1999) was a West Indian cricketer. Primarily a fast bowler, Marshall is regarded as one of the finest and fastest pacemen ever to have played Test cricket. His Test bowling average of 20.94 is the best of anyone who has taken 200 or more wickets. He achieved his bowling success despite being, by the standards of other fast bowlers, a short man - he stood at 5 feet 11 inches (1.80 m), while most of the great quicks have been well above 6 feet (1.8 m) and many great West Indian fast bowlers, such as Joel Garner, Curtly Ambrose and Courtney Walsh, were 6 feet 6 inches (1.98 m) or above.
Context: Marshall was born in Bridgetown, Barbados. His father, Denzil DeCoster Edghill was also an outstanding cricketer who played for Kingspark cricket club in St. Philip the son of Claudine (nee Edghill) and Guirdwood Ifill, was a policeman; he died in a traffic accident when Marshall was one year old. His mother was Eleanor (nee Welch). Malcolm had three half-brothers and three half-sisters. He grew up in the parish of Saint Michael, Barbados and was educated at St Giles Boys' School from 1963 to 1969 and then at Parkinson Comprehensive from 1969 to 1973.  He was partly taught cricket by his grandfather, who helped to bring him up after his father's death. He played cricket for the Banks Brewery team from 1976. His first representative match was a 40-over affair for West Indies Young Cricketers against their English equivalents at Pointe-a-Pierre, Trinidad and Tobago in August 1976. He made nought and his eight overs disappeared for 53 runs.  Marshall's initial senior appearance was a Geddes Grant/Harrison Line Trophy (List A) match for Barbados on 13 February 1978; again he made a duck and did not take a wicket. Four days later, he made his first-class debut against Jamaica, and whilst he failed to score runs, he claimed 6-77 in the Jamaican first innings. On the back of this single first-class appearance he was selected to tour India in 1978/79, many first-choice West Indian stars being unavailable having committed themselves to playing World Series Cricket. Marshall heard of his selection on the radio while working in the storeroom at Banks Brewery and later claimed he did not know where India was.
Question: Did he have siblings?
Answer: Malcolm had three half-brothers and three half-sisters.

Background: Vieira was born in Providence, Rhode Island, and raised in nearby East Providence, the daughter of Mary Elsie (Rosa), a homemaker, and Edwin Vieira, a medical doctor, both first-generation Portuguese Americans. She is the youngest of four children, with three older brothers. All four of Vieira's grandparents came from the Azores--three from Faial Island, one of the nine islands in the archipelago. The family name
Context: Vieira moved to ABC initially as one of six regular correspondents for the news-magazine show Turning Point (1994-99), and was also the host of the Lifetime Network's show Intimate Portrait, which debuted on January 3, 1995, and ran until August 28, 2004.  Vieira served as the original moderator and co-host of ABC's daytime talk show The View from its debut on August 11, 1997, until June 9, 2006. As moderator, she was responsible for opening and closing each of the show's live episodes, introducing "Hot Topics," guiding conversations, and breaking to commercials. On her final episode of The View, Vieira's co-hosts gave her a roast to commemorate her departure.  Vieira explained what led her to become The View's moderator in an interview with the Pittsburgh Post-Gazette, by making the following statement:  In August 2006, Vieira told Time that she hasn't watched The View since she left the show, except the episode when Star Jones announced she was leaving. She said it was "very sad" what's happened to it: "I'm proud of the work we did there, but it's not a good time in the history of the show... It's hard to watch. It sort of became a joke." On August 29, 2006, Vieira told the New York Post that she didn't mean that The View was a joke. She said the interview was taken out of context. "I felt that the media was turning [The View] into a joke, not that the show was a joke," she says. Time added a clarification to its website, saying "[Vieira] assures Time that in no way were her comments meant to be insensitive or derogatory..."
Question: When did she leave
Answer:
In August 2006, Vieira told Time that she hasn't watched The View since she left the show, except the episode when Star Jones announced she was leaving.