Swear words essential part of modern expression
I’m absolutely convinced that there’s nothing that makes a sentence better than a well-placed curse word. I would go ahead and list the best of them but, with the policy of print as it is, all you’d see is a stream of hyphens punctuated by the occasional letter.
Which, for my purposes, is absolutely no f—-ing good at all. (See?)
So, a little bit of verbal footwork is required to explain my thought process here.
First off, some of these words help a turn of phrase flow better. Some sentences just need a little bit of sprucing up. Sometimes, they need a little push.
Need a two-syllable word to emphasize just how stupid you were for majoring in underwater basket-weaving? Accentuate your otherwise boring (and self-pitying, I mean, come on) complaint with something more interesting. Maybe throw in a word describing two people having a good time. Or one concerned with the scatological habits of bulls. (Will they let me get away with writing “merde de taureau”? I wonder.)
Secondly, the vast majority of curse words are direct. They have a clear, simple meaning that isn’t tainted by cutesiness or pretension. Everyone knows what one means when they invoke one of those famed four-letter words.
The same can’t be said for those “soft” bastardizations that verbally spawn from those well-worn standbys. For example, can someone explain to me what “frickle-frack” means?
If so, you are part of the problem.
And the last point: curse words are at their best when used to lighten the tone of the conversation or attempt at humor. They’re generally not funny in themselves, (although, to my shame, the word “fart” on its own can make me giggle if I’m not expecting it). It’s the inventive ways one uses them which give them strength.
There is an entire genre of this kind of stuff: the limerick. Who doesn’t know about the incredible physical characteristics of the man from Nantucket? I didn’t think so. From W.H. Auden to Philip Larkin, some of the most respectable writers of the 20th century were masters of this charming form. (Speaking of Larkin, his best known poem “This Be the Verse” literally starts with “They f—- you up, your mum and dad.” Let it never be said that filth never had its place in poetry.)
Yes, these words can hurt. Some of them are designed to target specific groups of people. The difference between these words and general vulgarity is the intent behind them. These kinds of words are inherently hateful.
However, the important thing to keep in mind here is that crude language is a tool and simply serves to elaborate on or strengthen an image.
The way a sentence flows has all to do with its component words. It’s simple math: if you allow yourself to use your full vocabulary, you’ll have more ways to glue a potential phrase together.
Remember, it’s not the words you use, it’s the way you use them.