A Comedy Story of the Duck on the Sea 2

Introduction

The Duck on the sea often found itself in absurd and whimsical situations, a recurring motif that lends itself well to comedic narratives. This exploration delves into the inherent humor derived from such scenarios, examining how the juxtaposition of a mundane creature like a duck with the vast, unpredictable ocean creates fertile ground for comedic exploits (Pramukti & Utomo, 2020, p. 155). The narrative often plays on the audience's preconceived notions of ducks and their typical habitats, subverting expectations to generate amusement. The inherent contradiction of a land-based fowl navigating the open sea, often with an air of unwarranted confidence, forms the bedrock of its comedic appeal (Hu et al., 2024, p. 2). Furthermore, the inherent challenges of marine life, from unpredictable weather to encounters with larger, more formidable creatures, provide ample opportunities for slapstick and situational comedy (Houghton et al., 2022, p. 840). This comedic framework is further enhanced by the duck's anthropomorphic qualities, allowing for relatable struggles and triumphs against an often-overwhelming backdrop (Mitelpunkt, 2022, p. 800). The comical elements are often amplified by the duck's unwavering resolve and persistent, albeit sometimes misguided, efforts to overcome these maritime adversities (Goeltzenleuchter et al., 2019, p. 2). This often manifests in humorous interactions with other marine inhabitants, who are frequently bewildered by the duck's presence and peculiar behaviors (Goeltzenleuchter et al., 2019, p. 3). For instance, a rubber duck's buoyancy and stability in a bathtub, though a controlled environment, offer a microcosm of the complex hydrodynamic behaviors that could be extrapolated to larger, more dynamic aquatic settings, thereby providing a basis for understanding the comical struggles of an actual duck at sea (Coauthor & Corresponding, 2024). This incongruity can be further explored through the lens of ecological displacement, where a terrestrial creature’s attempts to adapt to an alien marine environment invariably lead to humorous misadventures and unexpected outcomes. 

Literature Review

The study of humor, particularly in narratives involving anthropomorphic animals, reveals several theoretical underpinnings for the "Duck on the Sea" phenomenon (Franck, 2022, p. 1). One prominent theory suggests that comedy often arises from the expression of biological life's felt qualities, rhythms, and intensities, as well as the inherent cruelty of life feeding on life (Rousell & Diddams, 2020, p. 440). This aligns with the incongruity theory of humor, which posits that humor arises from the perception of something that violates expected patterns or logical relationships, such as a duck attempting to master the open ocean (Parovel & Guidi, 2015; Tschacher & Haken, 2023). Similarly, the benign violation theory proposes that humor emerges when a situation is perceived as a violation of norms, but simultaneously as harmless or acceptable (Warren et al., 2020). This concept is particularly relevant to the duck's aquatic misadventures, where its struggle against the sea is a violation of its natural terrestrial habitat, yet perceived as harmless due to its comical ineptitude (Sîrbu, 2016). This perspective can be extended to understanding how the duck's earnest, yet often futile, attempts at maritime navigation—like Moominpappa’s scientific methodology to understand the sea—can be perceived as both a violation of its natural capabilities and an amusing spectacle (Dymel‐Trzebiatowska, 2022, p. 322). Furthermore, the inherent duality of such comedic portrayals, where human-like movement is juxtaposed with mechanical, often clumsy, actions, further enhances the humorous effect, akin to slapstick (Martínez, 2023, p. 550). This often leads to a "double address" in storytelling, where humor is generated through exaggeration and the simultaneous appeal to both children and adults, allowing for multiple layers of interpretation (Dymel‐Trzebiatowska, 2022, p. 322).