Question: Clinton Richard Dawkins (born 26 March 1941) is an English ethologist, evolutionary biologist, and author. He is an emeritus fellow of New College, Oxford, and was the University of Oxford's Professor for Public Understanding of Science from 1995 until 2008. Dawkins first came to prominence with his 1976 book The Selfish Gene, which popularised the gene-centred view of evolution and introduced the term, meme. With his book The Extended Phenotype (1982), he introduced into evolutionary biology the influential concept that the phenotypic effects of a gene are not necessarily limited to an organism's body, but can stretch far into the environment.

In his book, The Selfish Gene, Dawkins coined the word meme (the behavioural equivalent of a gene) as a way to encourage readers to think about how Darwinian principles might be extended beyond the realm of genes. It was intended as an extension of his "replicators" argument, but it took on a life of its own in the hands of other authors, such as Daniel Dennett and Susan Blackmore. These popularisations then led to the emergence of memetics, a field from which Dawkins has distanced himself. Dawkins's meme refers to any cultural entity that an observer might consider a replicator of a certain idea or set of ideas. He hypothesised that people could view many cultural entities as capable of such replication, generally through communication and contact with humans, who have evolved as efficient (although not perfect) copiers of information and behaviour. Because memes are not always copied perfectly, they might become refined, combined, or otherwise modified with other ideas; this results in new memes, which may themselves prove more or less efficient replicators than their predecessors, thus providing a framework for a hypothesis of cultural evolution based on memes, a notion that is analogous to the theory of biological evolution based on genes. Although Dawkins invented the term meme, he has not claimed that the idea was entirely novel, and there have been other expressions for similar ideas in the past. For instance, John Laurent has suggested that the term may have derived from the work of the little-known German biologist Richard Semon. In 1904, Semon published Die Mneme (which appeared in English in 1924 as The Mneme). This book discusses the cultural transmission of experiences, with insights parallel to those of Dawkins. Laurent also found the term, mneme, used in Maurice Maeterlinck's The Life of the White Ant (1926), and has highlighted the similarities to Dawkins's concept. James Gleick describes Dawkins's concept of the meme as "his most famous memorable invention, far more influential than his selfish genes or his later proselytising against religiosity".

Using a quote from the above article, answer the following question: Are there any other interesting aspects about this article?
HHHHHH
Answer: Although Dawkins invented the term meme, he has not claimed that the idea was entirely novel,

Question: Pierrot (French pronunciation: [pjeRo]) is a stock character of pantomime and commedia dell'arte whose origins are in the late seventeenth-century Italian troupe of players performing in Paris and known as the Comedie-Italienne; the name is a diminutive of Pierre (Peter), via the suffix -ot. His character in contemporary popular culture--in poetry, fiction, and the visual arts, as well as works for the stage, screen, and concert hall--is that of the sad clown, pining for love of Columbine, who usually breaks his heart and leaves him for Harlequin. Performing unmasked, with a whitened face, he wears a loose white blouse with large buttons and wide white pantaloons. Sometimes he appears with a frilled collaret and a hat, usually with a close-fitting crown and wide round brim, more rarely with a conical shape like a dunce's cap.

He is sometimes said to be a French variant of the sixteenth-century Italian Pedrolino, but the two types have little but their names ("Little Pete") and social stations in common. Both are comic servants, but Pedrolino, as a so-called first zanni, often acts with cunning and daring, an engine of the plot in the scenarios where he appears. Pierrot, on the other hand, as a "second" zanni, is a static character in his earliest incarnations, "standing on the periphery of the action", dispensing advice that seems to him sage, and courting--unsuccessfully--his master's young daughter, Columbine, with bashfulness and indecision. His origins among the Italian players in France are most unambiguously traced to Moliere's character, the lovelorn peasant Pierrot, in Don Juan, or The Stone Guest (1665). In 1673, probably inspired by Moliere's success, the Comedie-Italienne made its own contribution to the Don Juan legend with an Addendum to "The Stone Guest", which included Moliere's Pierrot. Thereafter the character--sometimes a peasant, but more often now an Italianate "second" zanni--appeared fairly regularly in the Italians' offerings, his role always taken by one Giuseppe Giaratone (or Geratoni, fl. 1639-1697), until the troupe was banished by royal decree in 1697. Among the French dramatists who wrote for the Italians and who gave Pierrot life on their stage were Jean Palaprat, Claude-Ignace Brugiere de Barante, Antoine Houdar de la Motte, and the most sensitive of his early interpreters, Jean-Francois Regnard. He acquires there a very distinctive personality. He seems an anomaly among the busy social creatures that surround him; he is isolated, out of touch. Columbine laughs at his advances; his masters who are in pursuit of pretty young wives brush off his warnings to act their age. His is a solitary voice, and his estrangement, however comic, bears the pathos of the portraits--Watteau's chief among them--that we will encounter in the centuries to come.

Using a quote from the above article, answer the following question: What do they have in common?
HHHHHH
Answer:
but the two types have little but their names ("Little Pete") and social stations in common.