input: Barrie moved in literary circles and had many famous friends in addition to his professional collaborators. Novelist George Meredith was an early social patron. He had a long correspondence with fellow Scot Robert Louis Stevenson, who lived in Samoa at the time, but the two never met in person. George Bernard Shaw was his neighbour in London for several years, and once participated in a Western that Barrie scripted and filmed. H. G. Wells was a friend of many years, and tried to intervene when Barrie's marriage fell apart. Barrie met Thomas Hardy through Hugh Clifford while he was staying in London. After the First World War, Barrie sometimes stayed at Stanway House near the village of Stanway in Gloucestershire. He paid for the pavilion at Stanway cricket ground. Barrie also founded an amateur cricket team for his friends. The people who played on the team at various times included such luminaries as H. G. Wells, Rudyard Kipling, Arthur Conan Doyle, P. G. Wodehouse, Jerome K. Jerome, G. K. Chesterton, A. A. Milne, E. W. Hornung, A. E. W. Mason, Walter Raleigh, E. V. Lucas, Maurice Hewlett, Owen Seaman, Bernard Partridge, Augustine Birrell, Paul Du Chaillu, Henry Herbert La Thangue, George Cecil Ives, George Llewelyn Davies (see below) and the son of Alfred Tennyson. The team was called the Allahakbarries, under the mistaken belief that "Allah akbar" meant "Heaven help us" in Arabic (rather than "God is great"). Barrie befriended Africa explorer Joseph Thomson and Antarctica explorer Robert Falcon Scott. He was godfather to Scott's son Peter, and was one of the seven people to whom Scott wrote letters in the final hours of his life during his expedition to the South Pole, asking Barrie to take care of his wife Kathleen and son Peter. Barrie was so proud of the letter that he carried it around for the rest of his life. In 1896, his agent Addison Bright persuaded him to meet with Broadway producer Charles Frohman, who became his financial backer and a close friend, as well. Frohman was responsible for producing the debut of Peter Pan in both England and the US, as well as other productions of Barrie's plays. He famously declined a lifeboat seat when the RMS Lusitania was sunk by a German U-boat in the North Atlantic. Actress Rita Jolivet stood with Frohman, George Vernon and Captain Alick Scott at the end of Lusitania's sinking, but she survived the sinking and recalled Frohman paraphrasing Peter Pan: 'Why fear death? It is the most beautiful adventure that life gives us.' His secretary from 1917, Cynthia Asquith, was the daughter-in-law of H. H. Asquith, British Prime Minister from 1908 to 1916. In the 1930s, Barrie met and told stories to the young daughters of the Duke of York, the future Queen Elizabeth II and Princess Margaret.

Answer this question "How did he come into contact with these people?"
output: His secretary from 1917, Cynthia Asquith, was the daughter-in-law of H. H. Asquith, British Prime Minister from 1908 to 1916.

input: 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.

Answer this question "When did burlesque come about?"
output:
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,