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Speech play is the playful manipulation of elements and components of language, in relation to one another, in relation to the social and cultural contexts of language use, and against the backdrop of other verbal possibilities in which speech play is not foregrounded. The elements manipulated can be at any level of language, from sound patterns to syntax, semantics, and discourse; they can include the various languages used in multilingual situations, and relations between verbal and nonverbal communication. Speech play can be conscious or unconscious, noticed or not noticed, purposeful or nonpurposeful, and humorous or serious. Nonetheless, given the focus on manipulation, speech play typically involves a degree of selection and consciousness beyond that of ordinary language use.

While speech play is present to some degree in all speech—informal, formal, conversational, or artistic—it is most evident in certain conventional forms that are found in many societies. These include play languages, puns, jokes, verbal dueling, proverbs, and riddles. There is a close connection between speech play and verbal art (verbal art is a focus on the aesthetic use of language, both oral and written). Speech play provides the means and resources, such as metaphor, parallelism, and narrative manipulations, out of which verbal art is created. At the same time, there are various and overlapping ends served by speech play, comic or humorous, religious, rhetorical, mnemonic, competitive, rehearsal, and artistic. After discussing the academic study of speech play, this entry examines the concepts and functions of play and its relation to culture.

Academic Study

The study of speech play is relevant to various disciplines and scholarly concerns. For linguists, speech play provides insight into linguistic structure by revealing the ways in which various elements of language can be manipulated in different contexts. Speech play is relevant to both linguistic theory and linguistic methodology. It provides insight into the nature of language in general, as play is an important component of language structure and language use; play is inherent in grammar and grammar provides potential for play actualized in discourse. The study of speech play also reveals information about particular languages, indicating what parts are available for play, how, and why. Methodologically, speech play provides a tool for the investigation of both language structure and language use. From the perspective of sociolinguistics, because speech play often emerges from language, styles, and varieties in contact, its study provides insights into the use and the attitudes toward the sociolinguistic repertoire of a community.

For anthropologists, speech play can be seen as being at the heart of intersections among language, culture, and society—testing, experimenting with, and sometimes creating the boundaries of appropriate behavior. While there is always some play for play’s sake, play often involves culture exploring and working out both its essence and the limits of its possibilities. It can be a cultural theme, and as such is at the heart of the intersection of language, culture, thought, and individual expression. Play occurs as people—not just children—work out, experiment, exercise, and define the properties of their languages, cultures, and societies, and especially the intersections and relations among them. In this view, language and culture and their interaction and intersection are viewed as dynamic, not static, and in flux, not fixed. Methodologically, the study of people’s speech play gives researchers a tool for analyzing how natives express and live their own language and culture. For literary critics, attention to speech play focuses on the texture of language use and helps define the nature of verbal art.

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