Inherently funny word

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The belief that certain words are inherently funny, for reasons ranging from onomatopoeia to sexual innuendo, is widespread among people who work in humor. Opinions vary widely regarding this idea; there is no generally-agreed-upon list of funny words and some people consider it to be a meaningless or nonsensical concept.

Contents

Cultural variation

The concept of inherent humor appears to be heavily dependent on culture. Yiddish and German words, for example, are a staple of humor in American English, in particular those that begin with the Template:IPA ("sh") sound, spelled sch- (or sometimes sh- in Yiddish). Take for example the derisive prefix shm- or schm-, as in "Oedipus schmoedipus!" Similarly, texts in Dutch often seem comical to English-speaking readers, perhaps because much written Dutch is partially intelligible but curiously spelled from an English-language point of view. The Dutch, on the other hand, consider Swedish to be a very funny language.

It has been determined using the comparative method that the Finnish language developed the sound Ö [ø] relatively recently to introduce a fronted counterpart to [o], in line with [a] - [æ] and [u] - [y]. Moreover, the new sound has found use mostly in words considered by many to be derisive or amusing. For example, the reason the vowel /ö/ was originally used for the word pöllö "owl" was to make it sound stupid, since the Finnish mythology and folklore always presents the owl as a stupid animal. Most words meaning "stupid" contain /ö/, e.g. hölmö, pöhkö, höhlä, höperö, pöpi. [1] [2] Words with front vowels, especially with [ö], are inherently funny, or derisive, e.g. älä hölise ja kälätä "don't talk nonsense and babble". In Finnic linguistics, the term "expressive" is often used.

English language

Comedy

Some influential comedians have long regarded certain words in the English language as being inherently funny and have used these to enhance the humor of their comic routines. By propagating the idea that the words used are funny, comedy routines may increase the comedy potential of the words by adding another level of comic association.

For example, the radio panel game I'm Sorry I Haven't a Clue includes an occasional round called "Straight Face", in which the panelists take turns to say a single word each. A player is eliminated from the game if anyone in the audience laughs at their word ("even the merest titter"). The winner is the last player standing. The fact that this game works, and that it is possible to predict more or less accurately which words are safe to use and which are unsafe, can be construed as evidence that the phenomenon is real. It is part of the mythology of actors and writers that the consonant plosives (so called because they start suddenly or "explosively"); that is: p, b, t, d, k, and g are the funniest sounds in the English language - particularly when found in short words since these "create the greatest tension" (tension being a key to comedy). Example: Underpants would be funnier than underwear. Shorter words are held to "create tension" because separating words from the normal flow of speech is very difficult cognitively, and it's more difficult to discern whether a short word has ended or not.

Additionally, the meaning of the word certainly plays a factor. Duck is funny in nearly every language, presumably because ducks are seen as a silly animal. Additionally, when taboos are associated with certain words, that can make a word humorous. The ideal funny word, then, would have the proper linguistic characteristics, a humorous meaning, and be well fitting the context of the situation and the character of the speaker.

Unresolved questions about inherently funny words include:

  • Are there any known physiological or linguistic reasons for why these words are funny?
  • Are the funny sounds the same in other languages?

Funny numbers

Some comedians even maintain that certain numbers are funnier than others, although they tend to rely on context to set up an expectation of size or exactitude. Numbers that are oddly exact (such as the Car Talk standard prize of a gift certificate for 26 dollars) or of an order of magnitude different from what is expected (such as Dr. Evil's ransom demand for one million dollars to avert nuclear destruction in Austin Powers: International Man of Mystery) can be amusing. The idea that the answer to the "ultimate question of life, the universe, and everything" is 42 is funny, according to author Douglas Adams, because it is an "ordinary, smallish" number, whereas numbers relating to space tend to be extremely large or extremely small and exact to many decimal places.

Additionally, there is a concept in comedy of the "rule of three,"[3] which suggests that things in threes are funnier or more satisfying than other numbers of things. Specifically, maximum humor can be attained by creating a structure in which a joke is set up, the set up is reinforced, and the punchline breaks the pattern.

Examples of references to the concept

Funny nosense words

Sometimes words are invented with a specific purpose to make them funny.

  • A classical example would be the Jabberwocky poem, whose rich set of nonce words, while evoking various emotions, has quite a few inherently funny ones.
  • The radio comedy Round the Horne came up with the inherently funny word Gruntfuttock.
  • Spike Milligan's Goon Show scripts often include funny nonsense words, such as spon, ploogie, plinge, lurgi and needle nardle noo.

Context-dependent funny words

The notion of the "inherently funny" word should not be confused with situations when a certain word sounds funny when unexpectedly used in an inapropriate situation. For example, a comic book, animation, and live action absurdist superhero The Tick, when required to choose a battle cry, chooses Spoon!!

References

  • Barry, Dave (1991), Dave Barry Talks Back, 1st edn., New York: Crown. ISBN 0-517-58546-4.
  • The Power of the Plosive, Tips & Tactics, 1st Quarter 1999, The Naming Newsletter, Rivkin and Associates [5]
  • H. L. Mencken, "The Podunk Mystery," The New Yorker, September 25, 1948.

See also

External links