Excessive Excess: A Catalyst for Introspection

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Excess is a recurring idea in comic works that is portrayed through the various actions and interactions of the characters. Excess is essentially the idea of taking something to an extreme, in some cases to the point where it begins to stretch the realistic credibility of what is occurring. Comedy attempts to be realistic, using characters that seem human, and, to an extent, the audience can relate to these fictional beings. But excess is the flip side, where the actions of the characters seem artificial and exaggeration. Is excess really an exaggeration at which the audience is supposed to laugh but not think to be credible? I think not. Excess has its foundations in the exploits of everyday people. All around us, excess is present, whether we are the initiators or victims of it. The truth is that comedies are not only there to give us laughs with the excessive acts of all the characters, but they also, through their hilarity and outrageousness, are intended to make us see our own faults and acts of excess. Through the introspection that comedies prompt, we are supposed to revise our own perceptions and actions that may be considered excessive. Comedies such as “A Midsummer Night’s Dream,” “Twelfth Night,” “The Miser,” and Trading Places provide great examples of excess that apply to real world experiences that we can change. Excess in comedies can be broken down into two major types: excess as applied to tricks or pranks and excessive love. The first, exaggeration as it relates to tricks, is when a character plays an often cruel prank on another character either out of spite or simply for entertainment. In “A Midsummer Night’s Dream,” the fairy Puck is characterized as a trickster character, and, indeed, he fulfills his title in numerous ways, one of which is when he transforms Bottom’s head into that of an ass for sheer amusement. He happens to
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