Question: 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.

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.

Using a quote from the above article, answer the following question: What else did you know about the Burlesque
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Answer: the term was often used interchangeably with "pastiche", "parody", and the 17th and 18th century genre of the "mock-heroic".

Question: Ludendorff was born on 9 April 1865 in Kruszewnia near Posen, Province of Posen, Kingdom of Prussia (now Poznan County, Poland), the third of six children of August Wilhelm Ludendorff (1833-1905). His father was descended from Pomeranian merchants who had achieved the prestigious status of Junker. Erich's mother, Klara Jeanette Henriette von Tempelhoff (1840-1914), was the daughter of the noble but impoverished Friedrich August Napoleon von Tempelhoff (1804-1868) and his wife Jeannette Wilhelmine von Dziembowska (1816-1854), who came from a Germanized Polish landed family on the side of her father Stephan von Dziembowski (1779-1859). Through Dziembowski's wife Johanna Wilhelmine von Unruh (1793-1862), Erich was a remote descendant of the Counts of Donhoff, the Dukes of Duchy of Liegnitz and Duchy of Brieg and the Marquesses and Electors of Brandenburg.

In the West in 1916 the Germans attacked unsuccessfully at Verdun and soon were reeling under British and French blows along the Somme. Ludendorff's friends at OHL, led by Max Bauer, lobbied for him relentlessly. The balance was tipped when Romania entered the war, thrusting into Hungary. Falkenhayn was replaced as Chief of the General Staff by Field Marshal Hindenburg on 29 August 1916. Ludendorff was his chief of staff as first Quartermaster general, with the stipulation that he would have joint responsibility. He was promoted to General of the Infantry. Chancellor Bethmann-Hollweg warned the War Cabinet: "You don't know Ludendorff, who is only great at a time of success. If things go badly he loses his nerve." Their first concern was the sizable Romanian Army, so troops sent from the Western Front checked Romanian and Russian incursions into Hungary. Then Romania was invaded from the south by German, Austro-Hungarian, Bulgarian, and Ottoman troops commanded by August von Mackensen and from the north by a German and Austro-Hungarian army commanded by Falkenhayn. Bucharest fell in December 1916. According to Mackensen, Ludendorff's distant management consisted of "floods of telegrams, as superfluous as they were offensive." When sure that the Romanians would be defeated OHL moved west, retaining the previous staff except for the operations officer, blamed for Verdun. They toured the Western Front meeting --and evaluating-- commanders, learning about their problems and soliciting their opinions. At each meeting Ludendorff did most of the commander's talking. There would be no further attacks at Verdun and the Somme would be defended by revised tactics that exposed fewer men to British shells. A new backup defensive line would be built, like the one they had constructed in the east. The Allies called the new fortifications the Hindenburg Line. The German goal was victory, which they defined as a Germany with extended borders that could be more easily defended in the next war. Hindenburg was given titular command over all of the forces of the Central Powers. Ludendorff's hand was everywhere. Every day he was on the telephone with the staffs of their armies and the Army was deluged with "Ludendorff's paper barrage" of orders, instructions and demands for information. His finger extended into every aspect of the German war effort. He issued the two daily communiques, and often met with the newspaper and newsreel reporters. Before long the public idolized him as their Army's brain.

Using a quote from the above article, answer the following question: Who else was involved in these missions?
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Answer:
Falkenhayn was replaced as Chief of the General Staff by Field Marshal Hindenburg on 29 August 1916. Ludendorff was his chief of staff