Some context: 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.
Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres between the 1830s and the 1890s. It took the form of musical theatre parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play, often risque in style, mocking the theatrical and musical conventions and styles of the original work, and quoting or pastiching text or music from the original work. The comedy often stemmed from the incongruity and absurdity of the classical subjects, with realistic historical dress and settings, being juxtaposed with the modern activities portrayed by the actors. Madame Vestris produced burlesques at the Olympic Theatre beginning in 1831 with Olympic Revels by J. R. Planche. Other authors of burlesques included H. J. Byron, G. R. Sims, F. C. Burnand, W. S. Gilbert and Fred Leslie.  Victorian burlesque related to and in part derived from traditional English pantomime "with the addition of gags and 'turns'." In the early burlesques, following the example of ballad opera, the words of the songs were written to popular music; later burlesques mixed the music of opera, operetta, music hall and revue, and some of the more ambitious shows had original music composed for them. This English style of burlesque was successfully introduced to New York in the 1840s.  Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera. The dialogue was generally written in rhyming couplets, liberally peppered with bad puns. A typical example from a burlesque of Macbeth: Macbeth and Banquo enter under an umbrella, and the witches greet them with "Hail! hail! hail!" Macbeth asks Banquo, "What mean these salutations, noble thane?" and is told, "These showers of 'Hail' anticipate your 'reign'". A staple of burlesque was the display of attractive women in travesty roles, dressed in tights to show off their legs, but the plays themselves were seldom more than modestly risque.  Burlesque became the speciality of certain London theatres, including the Gaiety and Royal Strand Theatre from the 1860s to the early 1890s. Until the 1870s, burlesques were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize. The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie. From about 1880, Victorian burlesques grew longer, until they were a whole evening's entertainment rather than part of a double- or triple-bill. In the early 1890s, these burlesques went out of fashion in London, and the focus of the Gaiety and other burlesque theatres changed to the new more wholesome but less literary genre of Edwardian musical comedy.
Are there any other interesting aspects about this article?
A: English style of burlesque was successfully introduced to New York in the 1840s.
Some context: Franz Joseph was born in the Schonbrunn Palace in Vienna, the eldest son of Archduke Franz Karl (the younger son of Holy Roman Emperor Francis II), and his wife Princess Sophie of Bavaria. Because his uncle, from 1835 the Emperor Ferdinand, was weak-minded, and his father unambitious and retiring, the young Archduke "Franzl" was brought up by his mother as a future Emperor with emphasis on devotion, responsibility and diligence. Franzl came to idolise his grandfather, der Gute Kaiser Franz, who had died shortly before the former's fifth birthday, as the ideal monarch. At the age of thirteen, Franzl started a career as a colonel in the Austrian army.
On 28 June 1914 Franz Joseph's nephew and heir Archduke Franz Ferdinand, and his morganatic wife Sophie, Duchess of Hohenberg, were assassinated by Gavrilo Princip, a Yugoslav nationalist of Serbian ethnicity, during a visit to Sarajevo. When he heard the news of the assassination, Franz Joseph said that "one has not to defy the Almighty. In this manner a superior power has restored that order which I unfortunately was unable to maintain."  While the emperor was shaken, and interrupted his holiday to return to Vienna, he soon resumed his vacation at his imperial villa at Bad Ischl. Initial decision-making during the "July Crisis" fell to Count Leopold Berchtold, the Austrian foreign minister; Count Franz Conrad von Hotzendorf, the chief of staff for the Austro-Hungarian army and the other ministers. The ultimate resolution of deliberations by the Austrian government during the weeks following the assassination of the Archduke was to give Serbia an ultimatum of itemized demands which it was virtually certain Serbia would be unable or unwilling to comply with, thus serving as a "legal basis for war." However, the general movement toward war with Serbia was already in motion prior to assassination of the Archduke as evidenced by a June 14 memo of Berchtold recommending the "elimination of Serbia" as a state, which Franz Josef expressed agreement with in a letter delivered to Kaiser Wilhelm II in Berlin on July 5. In that letter, Franz Josef "...explicitly stated that the decision for war against Serbia had been made before the assassination of the Archduke, and that the events of Sarajevo only confirmed the already pre-existing need for a war."  A week after delivery of the Austrian ultimatum to Serbia, on 28 July, Austria-Hungary declared war on Serbia. Within weeks, the Germans, Russians, French and British had all entered the fray which eventually became known as World War I.
What did Serbia do in return of the declaration?
A: