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"The end of 'Jerusalem' implies it can't be hailed a comedy. Share" According to Aristotle, "Comedy could be some colloquy or operation generally meant to entertain or stimulate laughter". In modern times, comedy are found in various forms, such as television, films, theaters and stand-up comedy. Johnny Byron is released in the first scene for a drug-dealer, a drunkard, a vandal, serial liar and a licentious guy. However in Jez Butterworth's Jerusalem, Johnny is seen as a comical protagonist, an ancient symbol of misgovernment, emotionally and hygienically, making him a minor man according to this Superiority Theory. He is purposely setup to be funny and outlandish. Johnny Byron perhaps might even be a mystical, elemental force as observed in Scene 2 in among his various tall tales at which he meets a giant who promised to have constructed Stonehenge and had granted him a golden drum to muster a armada of giants into his help. At the conclusion of the play Johnny defeats the drum before he expires. The audience may then hope that Johnny's tall stories are true and the giants truly do come to his help. No matter how the giants are not summoned to assist Johnny. The audience expects a happy end, for they believe that this is a comedy. Johnny also becomes a sympathetic character for that he seems to become deluded and has been an individual who the audience had grown to hope. The viewer share exactly the same view as all the teens which Johnny had spent his time with in the woods. We think Johnny's tales. This leads to the viewer to spoil Johnny's outlandishness. Juxtaposed to the contradictory part of the Superiority Theory, Johnny Byron's lifestyle makes him a detestable character but we don't find humour in this. He is 'fixed' at a rusty American-style trail...