Problem: Background: Anquetil was the son of a builder in Mont-Saint-Aignan, in the hills above Rouen in Normandy, north-west France. He lived there with his parents, Ernest and Marie, and his brother Philippe and then at Boisguillaume in a two-storey house, "one of those houses with exposed beams that tourists think are pretty but those who live there find uncomfortable." In 1941, his father refused contracts to work on military installations for the German occupiers and his work dried up. Other members of the family worked in strawberry farming and Anquetil's father followed them, moving to the hamlet of Bourguet, near Quincampoix.
Context: Anquetil's most humiliating race was the Trofeo Baracchi in Italy in 1962, when he had to be pushed by his partner, Rudi Altig, and was so exhausted that he hit a pillar before reaching the track on which the race finished.  The Trofeo Baracchi was a 111 km race for two-man teams. Anquetil, the world's best time-triallist, and Altig, a powerful rider with a strong sprint, were favourites. But things soon went wrong. The writer Rene de Latour wrote:  I got my stopwatch going again to check the length of each man's turn at the front. Generally in a race of the Baracchi type, the changes are very rapid, with stints of no more than 300 yards. Altig was at the front when I started the check -- and he was still there a minute later. Something must be wrong. Altig wasn't even swinging aside to invite Anquetil through... Suddenly, on a flat road, Anquetil lost contact and a gap of three lengths appeared between the two partners. There followed one of the most sensational things I have ever seen in any form of cycle racing during my 35 years' association with the sport -- something which I consider as great a physical performance as a world hour record or a classic road race win. Altig was riding at 30mph at the front -- and had been doing so for 15 minutes. When Anquetil lost contact, he had to ease the pace, wait for his partner to go by, push him powerfully in the back, sprint to the front again after losing 10 yards in the process, and again settle down to a 30mph stint at the front. Altig did this not just once but dozens of times.  The pair reached the track on which the race finished. The timekeeper was at the entrance to the stadium, so Anquetil finished. But instead of turning on to the velodrome, he rode straight on and hit a pole. He was helped away with staring eyes and with blood streaming from a cut to his head. The pairing nevertheless won by nine seconds.
Question: What or who is "The pairing"?
Answer: Anquetil, the world's best time-triallist, and Altig, a powerful rider with a strong sprint,

Problem: 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: Did it have any more types of origins and development
Answer:
'Burlesque' as a literary term became widespread in 17th century Italy and France, and subsequently England,