s Cunt i Boom csearchu Cunt e News Inga Muscio in her book, Cunt: A Declaration of Independence and Eve Ensler in "Reclaiming Cunt" from The Vagina Monologues.The word was similarly reclaimed by Angela Carter who used it in the title story of The Bloody Chamber and Other Stories; a female character describing female genitalia in a pornography book: "her cunt a split fig below the great globes of her buttocks".
Germaine Greer, who had previously published a magazine article entitled "Lady, Love Your Cunt", discussed the origins, usage and power of the word in the BBC series Balderdash and Piffle. She suggests at the end of the piece that there is something precious about the word, in that it is now one of the few remaining words in English that still retains its power to shock.
The word appears several times in Chaucer's Canterbury Tales (c. 1390), in bawdy contexts, but it does not appear to be considered obscene at this point, since it is used openly. A notable use is from the Miller's Tale "Pryvely he caught her by the queynte." The Wife of Bath also uses this term, "For certeyn, olde dotard, by your leave/You shall have queynte right enough at eve ... What aileth you to grouche thus and groan?/Is it for ye would have my queynte alone?" In modernised versions of these passages the word "queynte" is usually translated simply as "cunt". However, in Chaucer's usage there seems to be an overlap between the words "cunt" and "quaint" (possibly derived from the Latin for "known"). "Quaint" was probably pronounced in Middle English in much the same way as "cunt." It is sometimes unclear whether the two words were thought of as distinct from one another. Elsewhere in Chaucer's work the word queynte seems to be used with meaning comparable to the modern "quaint" (charming, appealing).
By Shakespeare's day, the word seems to have become obscene. Although Shakespeare does not use the word explicitly (or with derogatory meaning) in his plays, he still plays with it, using wordplay to sneak it in obliquely. In Act III, Scene 2, of Hamlet, as the castle's residents are settling in to watch the play-within-the-play, Hamlet asks Ophelia, "Lady, shall I lie in your lap?" Ophelia, of course, replies, "No, my lord." Hamlet, feigning shock, says, "Do you think I meant country matters?" Then, to drive home the point that the accent is definitely on the first syllable of country, Shakespeare has Hamlet say, "That's a fair thought, to lie between maids' legs. Also see Twelfth Night (Act II, Scene V): "There be her very Cs, her Us, and her Ts: and thus makes she her great Ps." A related scene occurs in Henry V: when Katherine is learning English, she is appalled at the "gros et impudique" English words "foot" and "gown," which her English teacher has mispronounced as "coun." It has been suggested that Shakespeare intends to suggest that she has misheard "foot" as "foutre" (French, "fuck") and "coun" as "con" (French "cunt", also used to mean "idiot"). Similarly John Donne alludes to the obscene meaning of the word without being explicit in his poem The Good-Morrow, referring to sucking on "country pleasures".
The 1675 Restoration comedy The Country Wife also features such wordplay, even in its title.
By the 17th century a softer form of the word, "cunny", came into use. A well known use of this derivation can be found in the 25 October 1668 entry of the diary of Samuel Pepys. He was discovered having an affair with Deborah Willet: he wrote that his wife "coming up suddenly, did find me imbracing the girl con my hand sub su coats; and endeed I was with my main in her cunny. I was at a wonderful loss upon it and the girl also....".
Cunny was probably derived from a pun on coney, meaning "rabbit", rather as pussy is connected to the same term for a cat. (Philip Massinger: "A pox upon your Christian cockatrices! They cry, like poulterers' wives, 'No money, no coney.'") Largely because of this usage, the word coney to refer to rabbits changed pronunciation from short "o" (like money and honey) to long "o" (cone, as in Coney Island), and has now almost completely disappeared from most dialects of English; in the same way the word "pussy" is now rarely used in America to refer to a cat.
Robert Burns used the word in his Merry Muses of Caledonia, a collection of bawdy verses which he kept to himself and were not publicly available until the mid-1960s. In "Yon, Yon, Yon, Lassie", this couplet appears: "For ilka birss upon her cunt, Was worth a ryal ransom".