The term “buffoon” has been used in literature both as a label for foolishness and as a complex metaphor for social and moral criticism. In early works like Rabelais’ Gargantua and Pantagruel [1, 2, 3], the buffoon emerges as a figure embodying outrageous, carnivalism that both mocks and enlightens, while later texts—especially in Dostoyevsky’s writings [4, 5, 6, 7, 8, 9, 10]—deploy the term to underscore a character’s inherent absurdity or even to signal a descent into madness. Satirists like Ben Jonson [11, 12, 13, 14, 15], as well as classical and philosophical authors such as Plato [16] and Nietzsche [17, 18], employ “buffoon” to contrast genuine wisdom with farce, often highlighting the tension between external laughter and internal emptiness. Even in more lighthearted or allegorical narratives—from Aesop’s fables [19, 20, 21, 22] to the social sketches of Dickens [23] and Pope [24, 25]—the buffoon serves not merely as comic relief, but as a mirror reflecting the oddities and failings of society.