Dysphemisms

Dysphemisms are technically the opposite of euphemisms. Whereas euphemisms seek to soften the impact of some horrific event or taboo subject by indirect language and calming metaphors, dysphemisms are starkly direct, macabrely metaphorical, or gruesomely physical. An obvious element of black humor is also apparent, since the bizarre metaphors strip away any notion of human dignity. Instead of the classical lexis generally prevalent in euphemisms, the core vocabulary is highly apparent, often in idiomatic phrases. Although this linguistic mode has been established for centuries and the term dysphemism was first recorded in 1884, it has only recently acquired even a specialist currency, being unlisted in many general dictionaries and reference books. The French psychologist Albert J. Carnoy gave an extensive definition in his study Le Science du Mot , which in translation runs: “Dysphemism is unpitying, brutal, mocking. It is also a reaction against pedantry, rigidity and pretentiousness, but also against nobility and dignity in the language” (1927, xxii, 351). There is virtually no aspect of human experience free from dysphemism.

Death generates such typical euphemisms as to pass away, to pass on, to depart this life, go to one’s Maker , and so on. Parallel dysphemisms would be to snuff it, to croak , and to push up daisies , since these allude graphically and cruelly to the physical aspect of death, down to breathing one’s last, the death rattle, and being reincorporated into the cycle of nature. Similar examples drawn from sensitive or embarrassing topics are to have a bun in the oven for to be pregnant, to be pissed for to be drunk, and to take a technicolor yawn down the great white telephone for to vomit. Many of the huge variety of sexual metaphors are dysphemic, such as bed-pressing, belly-bumping, bum dancing, a squeeze and a squirt, screw , and poke . As these examples show, dysphemisms are offensive and crude without necessarily using “four-letter” words.

In literature dysphemism shows a considerable overlap with bawdy. Shakespeare’s Romeo and Juliet (1595) is, among other things, a brilliant analysis of the nature of love: Romeo and Juliet embody the idealistic and noble view, while Mercutio and various other characters express a cynical, physical view liberally stocked with dysphemisms. The opening macho exchanges between the servants Gregory and Sampson are in this vein (I i 17-22). Mercutio mocks the great romantic lovers of history in dysphemistic terms: “Laura [the inspiration for Petrarch] was but a kitchen maid; Dido a dowdy; Cleopatra a gipsy; Helen and Hero hildings and harlots” (II iv 48-50). These are all low-register derogatory terms for women: a dowdy was ugly or overdressed, a gipsy was a loose woman, a hilding was a worthless woman, and a harlot was a whore. Several of Shakespeare’s plays, notably Antony and Cleopatra and Troilus and Cressida , set dysphemisms against heroic and romantic myths.

Dysphemisms abound in current insults. To take the example of stupidity and incompetence, from a rich field there are such terms as blockhead, bonehead, dickhead, lamebrain, not have a full deck of cards, not know one’s arse (ass) from one’s elbow , or couldn’t organize a booze-up in a brewery . Among terms for ugliness or unattractiveness there is the old euphemism plain , the pseudo-euphemism no oil painting , or the crudely dysphemistic a face to shatter glass, to stop a clock , or something the cat dragged in .