Forbidden Words: Taboo and the Censoring of Language
Forbidden Words: Taboo and the Censoring of Language
Forbidden Words: Taboo and the Censoring of Language
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74 <strong>Forbidden</strong> <strong>Words</strong><br />
Key:<br />
Her scotches, long <strong>and</strong> slender<br />
Reached to her kingdom come,<br />
Her hobsons, low <strong>and</strong> husky<br />
Made my newingtons go numb.<br />
I took her for some Lillian Gish<br />
Down at <strong>the</strong> chippy caff.<br />
We squeezed into my jam-jar<br />
And drove back to my gaff. 42<br />
scotch [pegs] ‘legs’;<br />
kingdom come ‘bum, fanny’;<br />
Hobson’s [choice] ‘voice’;<br />
Newington [Butts] ‘guts’;<br />
Lillian Gish ‘fish’;<br />
jam-jar ‘car’.<br />
(Barker 1979: 21)<br />
The primary function <strong>of</strong> most <strong>of</strong> <strong>the</strong> slang in ‘Cockney’s Lament’, from which<br />
<strong>the</strong>se verses are taken, is to amuse <strong>the</strong> reader, <strong>and</strong> very little <strong>of</strong> it is o<strong>the</strong>rwise<br />
euphemistic; nor is it dysphemistic, except perhaps to an extremely straitlaced<br />
prude (<strong>the</strong> poem ends with her dropping her early doors). It is <strong>the</strong><br />
rhyming slang that creates a minor work <strong>of</strong> art from a mundane seduction<br />
story.<br />
Ano<strong>the</strong>r distinguishing feature <strong>of</strong> slang is that it can usually be replaced<br />
by st<strong>and</strong>ard language without loss <strong>of</strong> communicative efficiency, 43 whereas<br />
<strong>the</strong> best jargon cannot. However, such a substitution will necessarily change<br />
<strong>the</strong> connotations <strong>of</strong> <strong>the</strong> utterance or text <strong>and</strong>, consequently, <strong>the</strong> communicative<br />
effect. You could describe someone as pickled, pissed or plastered, or<br />
you could simply say <strong>the</strong>y are drunk. On <strong>the</strong> o<strong>the</strong>r h<strong>and</strong>, as we said earlier,<br />
many jargon expressions simply do not have viable alternatives – <strong>the</strong> art<br />
historian’s skeuomorphy, <strong>the</strong> lawyer’s plaintiff <strong>and</strong> <strong>the</strong> cricketer’s man at<br />
deep fine leg all fill a gap. Of course when drunk replaces pickled, pissed or<br />
plastered, gone are <strong>the</strong> rhetorical effects conveyed by <strong>the</strong>se slang expressions.<br />
Speakers can use slang to deliberately express irreverence, i.e. to<br />
deliberately flout social or linguistic conventions. Slang can also show<br />
familiarity with what is being referred to, or at least familiarity with <strong>the</strong><br />
group that uses this term. To describe something as awes (¼ ‘awesome’) is<br />
more than saying this thing is good; it has connotations that <strong>the</strong> conventional<br />
language does not convey.<br />
Swearing <strong>and</strong> cussing<br />
Jargon does not ipso facto include swearing; although someone using jargon<br />
may well swear. Slang also does not necessarily include swearing, but as a<br />
matter <strong>of</strong> practice it <strong>of</strong>ten, <strong>and</strong> perhaps usually does. At least part <strong>of</strong> <strong>the</strong><br />
reason is that both slang <strong>and</strong> (pr<strong>of</strong>ane) swearing are highly colloquial varieties<br />
<strong>of</strong> language. Martin Joos identified five levels <strong>of</strong> formality. 44 In Figure 3.2,