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William Shakespeare, writing at the cusp of the Reformation, demonstrated the reduced potency of blasphemy and, with his thinly veiled 'cunt' puns, slyly circumvented the newfound intolerance towards sexual language.Later, John Wilmot would remove the veil altogether, writing "some of the filthiest verses composed in English" (David Ward, 2003) with an astonishingly uninhibited sexual frankness and a blatant disregard for the prevailing Puritanism.

According to Francis Grose's scurrilous definition, it is "a nasty name for a nasty thing" (1796).

It can also be used as an adjective (to describe a foolish person), a verb (meaning both to physically abuse someone and to call a woman a cunt), and an exclamation (to signify frustration).

Despite its semantic flexibility, however, 'cunt' remains our highest linguistic taboo: "It has yet, if ever, to return to grace" (Jonathon Green, 2010).

Censorship of both the word 'cunt' and the organ to which it refers is symptomatic of a general fear of - and disgust for - the vagina itself.

The most literal manifestation of this fear is the myth of the 'vagina dentata', symbolising the male fear that the vagina is a tool of castration (the femme castratrice, a more specific manifestation of the Film Noir femme fatale).

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