GUANO OF THE MIND: PUNS IN ADVERTISING
Language&Communicalion,Vol. 2, No. 3, pp. 269-276, 1982.Printed in Great s Ltd.GUANO OF THE MIND: PUNS IN ADVERTISINGW. D. REDFERN‘II n ‘y apas de langage innocent’-RolandBarthesWhat is the status of wordplay within the trade of advertising?I wrote to twenty of thelargest internationalagencies to find out. The most common reaction was to claim that itwas out-of-dateto pun in adverts. Was professionaldeformationcompellingthem tohave me on? A more charitable explanationwould be that they were reflecting the age-oldembarrassmentconnected with puns. Punsters in company habitually apologise for theiractivity. In addition, some practitionersstand on the dignity of the profession.Claude C.Hopkins said, in My Life in Advertising: ‘Frivolity has no place in advertising,Nor hashumor. Spending money is usually serious business (. . . People do not buy from clowns.”Somebody should inform McDonald’s. A standard warning in guides to copywriting states:Do not be ‘clever’; it is distracting.There clearly is a danger of in-jokes, of mutual congratulationsocieties being formed between a witty sloganeer and a small body of likeminded consumers.But what of the other possibility:that humorousadverts mightfunction like the jollities of a dentist as he extracts painfully from your gums and yourpocket? One further point: it may well be that the supposed untranslatabilityof many punsdeters advertisers, who often want to standardise their campaigns over various countries.But the argumentsfor the usefulnessof wordplay are stronger than such doubts.Advertisingspace is costly. Economy is essential, and puns are highly economical(twomeanings for the price of one word or phrase), and in fact much more of a labour-savingdevice than many of the products they seek to promote.The mode of advertisingistelegraphic,lapidary, as in journalism.‘In Tabloid English, the thematic pun becomes asemantic substitute for syntax. It signposts the narrative structure of a brief story moreclearly than any other verbal device known to literate man.‘* Not only constraints of space,but also the need to spare possible buyers brain-fag or eye-strain, these too lead to foreshortened texts. Since the fundamentalmessage of all advertising is known to everyone inadvance, there is a need for diversification.Wordplay,with its distortions,bifurcationsand re-creations,introducesvariety and refreshmentinto saturation.Puns, the deviousones, are a way round those rather stuffy rules of the advertisingwatchdogs:advertsshould be legal, decent and true. A recipe for mass-producedboredom.The words ofadverts are double-talk,necessarily.If adverts told only the verifiable truth, they wouldbe pedantic and tedious. And so they have to approximate;they have to say one thing andsuggest another. Obliquenessis all. So why not a virtue out of necessity, and a silk purseout of a sow’s ear? Enjoy the compulsion.Make business into a f&e, combine businesswith pleasure. Thus many adverts come to be prized as art-work or as social entertainment.While still remainingsceptical of the ends being served, surely we can profit from themeans. McLuhan wrote: ‘A lush car features a baby’s rattle on the rich rug of the backfloor and says that it has removed unwanted car rattles as easily as the user could remove269
270W. D. REDFERNthe baby’s. This kind of copy has really nothing to do with rattles. The copy is merely apunning gag to distract the critical faculties while the image of the car goes to work on thehypnotised viewer.‘3 Is he not insulting the viewer? Need we be dupes to that extent?Advertisingis all about association:associating a particular product with a particularfirm and with an idea of quality, and so word and thought associations(echoes, jingles,puns) obviously come into useful play. As one practitionerstated: ‘It is difficult to findmany words in the English language that possess only one meaning’.4 AnthonyBurgessexpands on this basic phenomenon:‘Ambiguity is a vice of words (. . . ) A scientific agelike ours tends to worry about this aspect of language (. . .) Meaning should be mathematical,unambiguous.But this plurality of reference is in the very nature of language, and itsmanagement and exploitation is one of the joys of writing.‘5 And, we should add, of reading.Ambiguity has obviously become a hurrah-word.Perhaps this stems from the teachings ofFreud, and the whole concept of complex motivation.Ambiguousbehaviour is felt to bericher than clear conduct. Behind all this skulks no doubt an unsurenessabout values.Since God died or was pensioned off, plurivalencyreigns. We are all mugwumps.Wecultivate bifocal vision (or squint). All wit, and (some would maintain) all mental creativity,entail the ability to think on at least two planes at once, by a kind of semantic and lexicaldiphthong.We are always on the look-out for doubles (to the extent of doubling up inboth laughter and pain). Many people give punning names to their children or their homes(e.g. ‘Kutyurbelyakin’,which I took globally for a possibly Armenianword, until 1broke it down into its constituentsounds). Think of the long list of double-barrelledterms we use: ker,double-edged,double-take,seeing double.Just like double-meaning,or even more so double entendre, the neutral word ‘suggestive’has come to have predominantlyerotic connotations.In fact, despite the tactic of supplyingscholarly equivalents,in order to sterilise or at least to cool what is being discussed, it isthe most general words that can secrete the greatest amount of innuendo.As MauriceCharney explains: ‘Double entendres, some planned but most fortuitous,lurk everywherein the English language,whose loss of declensions,conjugations,and exact syntaxmake it vulnerableto sexual ambiguity.Any unsecured use of ‘it’ in English is almostautomaticallysexual and a vague ‘do’ has similar connotations(. . .) This gives the Englishlanguage a quality of phonetic innuendothat may not be present in other, more exactlyinflected language systems.‘6 (The author is here guilty of linguistic chauvinism,for theverb ‘faire’ in French lends itself to very similiar exploitation.)’Much advertisingrelieson this practice of nudging and winking, although in the area of erogenous zones, likethat of parking zones, a stern warden keeps in check those who would violate the limits.The calculationmust be exact, otherwise the joint offered stimulation(to buy and tojubilate) might get confused, to the detriment of the former. Hence perhaps what has beencalled the ‘provocative serenity’ of many faces in adverts.* The models’ desires are alreadysatisfied, because they have enjoyed the product. Now it is up to us to sample it with thesame kind of controlled licentiousness.But one man’s licence is another man’s veto. In order to lacerate the conscience oflicence-dodgers,the BBC coined the slogan: ‘NO LICENCE.NO LIFE ON EARTH’.This was advertisingas terrorism.The mere removal of distinguishingpunctuationproduced arresting ambiguity.No TV living death. In a sense, this message was eventruthful. If, as a result of being detected and in order to pay the hefty fine, you have to
GUANO OF THE MIND: PUNS IN ADVERTISING271sell your set or return it to the rental company,you have, so to speak, no longer any‘world about you’, no ‘life on earth’ at your disposal. The message of course tells ussomething we already know, but it drives the meaning home; our dependenceon TV isliterally brought home to us. This skirts tautology, but in a more telling way than in anotherannouncementfrom a public utility, the telephone service. This invented a very talkativelittle bird called Buzby. One of the accompanyingslogans was: ‘A ring keeps the familycircle together’. This could mean: legalised marriages last longer; the family that praystogether stays together (as the priest on the Titanic declared); and, of course, call yourfolks regularly. All edifying truisms: no shock, no rethinking involved. At best, this sloganreminds of unwelcome obligations.But traps have to be set better than that. An old advertfor Players cigarettes tricked us with punctuation,like the BBC example. The initialslogan was ‘Players please’. Thus, the mere act of politely asking for a packet over thecounter acted as a boost for the product; the client is turned into the promoter.Such twists of familiar phrases are common. The ancient cry of the ice-cream vendor,‘Stop me and buy one’ was transformedby a family-planningcampaign to ‘Buy me andstop one’, which has a kind of brutal charm. A similar example concerns the contraceptivemanufacturerDurex, which has also sponsored racing-cars.The net result of these twinactivities was a picture of a sleek speedster with the ironic motto: ‘A small family car’.If car adverts habitually equate ownership of their particular make with sexual possession,this version at least introduces an element of caution into the rapture. ‘Bottle’, in criminalslang, means guts. Newcastle Brown Ale, supposedly a stronger beer than most, choosesthe slogan: ‘Even in a can it’s got bottle’-theimplicationbeing that different packagingin no way impairs the strength of the brew. One of the most famous of all British advertsfor many years was the Guinness series for their stout: the very simple phrase ‘My Goodness,My Guinness’.The rhyming message is obvious. The means varied inventively,but allfeatured a potential consumer exclaiming on seeing his beloved beverage being taken fromhis grasp: a zoo-attendantgazes at the shape of his glass inside the long neck of an ostrich;a constructionworker watches his drink lifted from his grasp on a girder hoisted by acrane, etc. Moving from beer to milk, let us see how this ‘goodness’ ploy is exploited. Inthe past couple of years, the Milk MarketingBoard has featured a young, fresh, fairhaired girl, raising a glass of milk towards her lips, accompaniedby the slogan: ‘I’m fullof natural goodness’. This could signify: ‘I’m drinking milk, which is good for my healthydevelopment’;‘I’m virginal’;‘I’m good-hearted’;‘I’m liberal with my favours’ (forgoodness implies generosity),and (because the glass is held at chest-height)‘My breastsare full of milk’. This last is somewhat spoilt as a suggestion by the fact that the girl isunder-endowed.A pretty complex, and possibly self-contradictory,set of meanings. Thegirl, in addition, has the heel of her shoe lodged in her crotch. Boot in puss, for a change.The technical advertising term ‘body copy’ (i.e. the main text of an advert after the headline or slogan) takes on its full import here. We might also call this ‘knocker copy’. Afurther series makes the underlying suggestions of the first one more explicit: ‘Some LikeIt Hot’. A more exciting and excited girl, lips pursed, raises to her mouth a glass ofsteaming milk, in which floats upright a stick of dark flake chocolate.Both series,incidentally,have the narcissistic quality of that old underwear advert of a young ladyannouncing:‘Next to myself I like Vedonis’.‘An example of commercialcounter-advertising.At the turn of the century a popularmyth held that pedalling a sewing-machinecould endanger the baby of a pregnant woman.Singer put out a poster on which a healthy mother-to-be,in the centre of a capital S
272W. D. REDFERN(gros 5) sewed happily away: ‘Grossesse heureuse avec une machine a ecrire Singer’.’Another specimen of effective advertising concerns selling an idea, a social ideal, not aproduct; and it is in fact aimed precisely at the by-productsof industry.‘The effluentsociety: how can we help to clean it up ?‘-witha picture of a drain discharginginto ariver. This is a truly pointed pun, whereas so many are blunt, and a tight twist, as the word‘society’ consorts well with both the near-identicalqualifiers, affluent and effluent.Puns do not always work, of course, or work only dubiously,which is perhaps fittingfor such an ambiguousmode. Another Guinness motto was: ‘There’s a lot of it about’.This is simultaneouslya truism about the ubiquitousnessof this beer, a wry comment onthe clicheic nature of everyday conversation(for this is the stock response in Britain ifyou mention you have been ill), and thus finally an unfortunateassimilationof Guinnessto a noxious virus. Less efficient again was the slogan in the Queen’s Jubilee Year: ‘We’vepoured throughouther reign’. This is strictly meaninglessand certainly pointless, for noother liquid (except acid?) falls in company with rain. Then there are unintentionalpuns,like the pharmacy that claimed: ‘We dispense with accuracy’. When the secondary meaningwas pointed out to him, the manager simply changed it to ‘We do not dispense withaccuracy’, and thus compoundedthe felony. Or the educationalestablishment,desperateto recruit students, putting this advert in the papers: ‘You’ll be in a class of your own’. Ilike also the T-shirt on sale in the Far East: ‘If you’re tired of life, visit Sri Lanka’. Theage of package suicides?‘You can tell the ideals of a nation by its advertisements’,said Norman Douglas, whowas wrong about a lot of other things, too.” If only things were so simple. In case what 1go on to say seems to treat the French as whipping-boys,I should stress that, if advertising appears to be still in its infancy in France, in Britain and the U.S.A. it often seemsto be in its second childhood. One French student of advertising language in fact underlinesthe relative rarity of wordplay in French adverts. He reasons that most clients there areflattered to be addressed in a tone which is ‘noble, eloquent,oratoire ou poetique’.”Gallic rhetorical snobbery obviously permeates all levels of culture there, but has he notnoticed the inanity of the famous ‘Dubo, Dubon, Dubonnet’series? As if in recognitionof the infantile nature of many of their slogans (e.g. ‘C’est Shell que j’aime’, which soundslike a drunkard’smispronunciationof ‘C’est celle que j’aime’,or perhaps a ClubMediterraneeadvert: ‘Seychelles que j’aime’), the French often repeat the same posterdozens of times in close contiguity,literally papering the walls with some brand-image.Acentripetalvariant of this is the advert for the cheese ‘Vache-qui-rit’,whose image isreiterated internally to infinity. Here the onlooker’s eye is coaxed to burrow into one placardinstead of skating across dozens of the same. Perhaps the best hope for wit in advertising inFrance lies in the involuntary kind, as in this supermarket sign: ‘Slips a la portee de toutes lesbourses’. A recent globetrottingresearcher into advertisinglanguage claims he foundtwice as much wordplay in English or American adverts as in French ones. In more detail,he saw in Britain more extensive punning and alliteration,but little rhyme, which wascommoner on the Continent.His conclusionwas that such adverts were in direct line ofdescent from the English wordplay tradition-Shakespeareand the Metaphysicals throughto Joyce. I2As rhetoric is the art of persuasion,we can justifiablytalk of advertising language as arhetoric. I3 We all pun; we all sell images of ourselves (includingmodest, underplayedimages). Norman Mailer is just more blatant thanmost of us in talking of ‘Advertisements
GUANO OF THE MIND: PUNS IN ADVERTISING273for Myself’. I4 Language itself is narcissistic in this way. As Jean Paulham has pointed out,the very word ‘etymology’,signifying ‘the authentic meaning’, acts as its own advertisement.15 Etymology,like Coca-Cola,is the real thing. Self-advertisingalso favours theoblique approach.Conundrums,rebuses, charades and puns, are all interrelatedand oflike ancestry. All involve the recipient in that their coded message needs to be deciphered.The object is to impress the receiver with the cleverness of the person seeking to publicisehimself in this way and, incidentally,to let the receiver congratulatehimself on hisastuteness in correctly reading the puzzle. Heraldry, for instance, provides many examplesof punning in armorial bearings and family badges. Sir Walter Scott, in his notes toWaverley, calls the motto of the Vernon family a perfect pun: ‘Ver non semper vivat’.The Spring will not last forever, or Vernon will last forever.16 On the Via Appia near Rome,the tomb of one Publius Maximum Philomususcontains two bas-reliefs of mice.” (Andnotice how the joke cowers within the name, in a mouselike fashion.) Shop-signs continue‘Not only did ourthis tradition,as in this French example: ‘Au p’tit chien’ (Opticien).ancestors pun during their lives, but endeavoured,as much as possible, to convey theidea that they would do so in the world to come, for many of their epitaphs are repleteground with gravity:/with puns.‘18 Here is one such for a dentist: ‘Stranger, tread/ThisDentist Brown is filling/Hislast cavity’.” Today, of course, we having punning T-shirtmottoes, lapel-badges,car-stickers,trade-names,a whole plethora of means whereby wecan seek attention and admiration,affirm ourselves, and provide free entertainmentforothers. Graffiti, in particular,are self-advertisements,even though mostly anonymousor pseudonymous.They are one of the very few means for the great majority of unrecognised writers and draughtsmento reach a public. That least snobbishof writers,Raymond Queneau, once said: ‘Les graffiti, qu’est-ce que c’est? toute juste de la litterature’.” Such wall-writing has been described as the ‘I-was-here’ syndrome. ‘It is the ego atwork, the self-accolade of achievement as well as a kind of recognitionthat maybe historyhas been made and posterity should be informed.“’What will future generations,if thereare any, think of our contemporaryanti-nucleargraffito: ‘The only safe fast breeders arerabbits’? Or the splendid Spoonerismin ‘Psychology is producinghabits out of a rat’?Many graffiti, of course, show scant concern for social utility and are purely, or moreoften impurely, personal, As one commentatorhas said: ‘The combinationof antisocialthought, antisocial language to express it, and antisocial disfigurementof someone else’sproperty enables the graffitist to discharge in one “emotionalorgasm” many of the deepseated emotions he may be harbouringand thus helps him to regain his composure’.22 Icannot help feeling that there is an element of wishful thinking in this analysis evenstronger than that of the graffiti in question. The scrawl on the contraceptivevendingmachine: ‘This is the worst chewing gum I have ever tasted’ is a kind of semantic pun,and peculiarly apt in that condoms and chewing-gumcontain comparablesubstances:latex and chicle. In fact, chicle is the latex (i.e. milky ooze) from the sapodilla.By anobscure association of ideas, some might be reminded of the old popular song: ‘Does yourchewing-gum lose its flavour on the bedpost overnight?’Wordplay recycles language. ‘So many puns in modern advertising copy depend on afamiliarity with the hackneyed in our language.‘23 We might add that we are all familiars ofthis particularsabbath, this common place where we are all experts. While we all useclichk, not everybody knows how to re-use what have been called ‘duck-billed platitudes’.24Here is one twist which I have not yet inscribed anywhere: ‘The meek shall inherit the earth.But the brazen shall contest the will’. It has been remarked that, in advertising,such
214W.D.REDFERNshifts are almost always from the metaphoricalto the literal, since advertisersarepromoting things.25 But I think this view could itself be tilted around, for it is no less truethat advertisers are selling an idea of things, as a prelude to the purchase of the articleitself. I suspect, rather, that most advertising language plays between the two levels of thespirit and the letter, and would not wish to be closely tied to one or the other. ‘There is noone-way traffic between the literal and the metaphorical.‘26McLuhan suggests there is an innate comedy in the very phenomenonof advertising:‘Will Rogers discovered years ago that any newspaper read aloud from a the
and re-creations, introduces variety and refreshment into saturation. Puns, the devious ones, are a way round those rather stuffy rules of the advertising watchdogs: adverts should be legal, decent and true. A recipe for mass-produced boredom. The words of adverts are double-talk, necessarily.
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