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EnglishinTamil:thelanguageofadvertising
KanthimathiKrishnasamy
EnglishToday/Volume23/Issue34/October2007,pp4049 DOI:10.1017/S0266078407003094,Publishedonline:23October2007

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English in Tamil: the language of advertising

KA N T H I M AT H I K R I S H N A S A M Y
The global and the local in southern India

ADVERTISING has come a long way, from pedlars in the market square extolling their goods to glossy mags full of innuendo and making extensive use of verbal and non-verbal devices to attract consumers. In India, copywriters make extensive use of English words and phrases in advertisements in a variety of ways. This paper examines the use of English in television and print advertising in the Tamil language. A cursory examination of Tamil advertising shows that the language of advertising does not follow rigid rules: it makes optimal use of possible resources from a wide variety of styles.

Introduction
The great art in writing advertisements is the finding out a proper method to catch the readers eye; without which a good thing may pass over unobserved (Addison, 1710). Words used in their proper order and in a pleasing manner would readily be accepted and obliged by the world (Thiruvalluvar, a Tamil poet, c.100 BC: Kural, 648, when highlighting the importance of effective communication). Semiotics is vital in mass media as it analyses and effectively decodes verbal and non-verbal communication at every level. It pierces beneath the superficial gloss of an advertisement to reveal that every advertising copy evolves out of a conscious manipulation of languages and a deliberate selection of sign. Language has a powerful influence over people and their behaviour. This is especially true in the field of advertising. The choice of language to convey specific messages with the intention of influencing people is vitally important. Language helps people identify a product and remember it. The language of advertising

is of course normally very positive, emphasizing why one product stands out in comparison with another. Advertising language may not always be correct language, in the normal sense: comparatives, for example, are often used when no real or direct comparison is made. A successful ad is expected to accomplish five functions: attracting attention, commanding interest, creating desire, inspiring conviction, and provoking action. (cf. Jefkins, 1973; Vestergaard & Shrodder, 1985). The effective use of language stimulates the consumers desire, and ads that use easily read eye-catching phrases with their salient point(s) emphasized are more popular. A tremendous economy with words, catchy phrases, and gripping slogans appeal to customer psychology, at the same time as the ad-makers use word-triggers to evoke a desired response. Ads, as it were, with their jingles and musical phrases verbally hypnotize the customers. Advertisements take the liberty of modify-

KANTHIMATHI KRISHNASAMY is currently pursuing a doctoral thesis on code-mixing among Tamil college students, in the Department of Humanities and Social Sciences at the Indian Institute of Technology, Chennai (formerly Madras), India. She has a Masters and an M.Phil in English language and literature from the University of Madras, and a post-graduate diploma in journalism and mass communication. She has taught in various colleges. Her research interests include English in India, bilingualism, psycholinguistics, and neurolinguistics, and she has published on code-mixing, especially between English and Tamil. Her two-year-old daughters progress in talking is now drawing her towards studies in language acquisition. Email <Kanthi_iit@hotmail.com>
DOI: 10.1017/S0266078407003094

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ing and distorting language to suit their ends. They may simplify a pedantic word, create an entirely new word, change usages, and employ special words to arouse special images. Advertising may change a spelling, and take nouns and treat them like adjectives, endowing them with both comparative and superlative degrees. And ad-makers have a special fondness for rhyme and alliteration and make free use of clichs.

preference across cultures for English as one member in many pairs of languages (cf. Martin, 2002).

Data
The data for this study are drawn from television and print advertising in the state of Tamil Nadu. The ads are taken from popularly read Tamil magazines (Kumudam, Kungumam, Aananda Vigatan and Mangaiyar Malar), Tamil newspapers (Dinamani, Thinathanthi, Dinamalar), and commercials broadcast in Tamil channels (Sun, Jaya, Raaj, Raaj Digital Plus, Podigai, and Vijay). The TV commercials were recorded in a Sony TCM 200 DV voice recorder with Philips cassette and later transcribed. The advertisements selected are from a broader pool and illustrate linguistic anomalies which I wish to explore. Each advertisement is treated as a single discourse unit, and the ads usually have the following components: product (brand) name; attention-getters, jingles, and body copy; and punch line, signature line, or slogan.

The hegemony of English

In multilingual India, under the impact of globalization and economic rationalism, English is increasingly competing with the indigenous languages. According to Crystal (1997), the use of English in ads began early, from the time when the weekly newspapers began to carry items about books, medicines, tea, and other domestic products. Advertisers adapt language to their own use and the English language is known for both an extensive vocabulary and wide global appeal. As a result, an English name may lend an aura of chic prestige to a business, suggesting that it is part of the international scene, follows the latest trends, and is up-to-date and with the newest ideas (Ross, 1997). The use of English in advertising has therefore, on the one hand, set the stage for linguistic innovations, adaptations, and loan translations while on the other it poses problems of intelligibility. Use of English has stimulated syntactic innovations and violations of selectional restrictions within English and within the languages that absorb it directly or indirectly. It is an accepted fact that English acquired its global status as a consequence of the economic domination achieved by the English-speaking world. As a result, the lingua franca of India is usually English, which is perceived by adults and teens alike as both socially and professionally important across this vast multilingual nation. The prestige value of the language remains one of the primary reasons for using English terms in India: they are trendy in virtually every field: Teenagers pick out English expressions from the music they listen to; businessmen feel a need to demonstrate their mastery of commercial English; TV and newspaper journalists want to make it clear that they are not lagging behind (Smith, 1997). And in the world of advertising there is an indispensable

Playing with words

Advertisements make great promises while using a great economy of words, and their creators seek to hypnotise an audience or readership verbally by making the ads proactive and evocative. Catchy slogans, jingling songs and musical phrases also serve to sway the consumer, and figurative language and literary devices come in chunks that are meant to stay in the viewers minds for a long time. Such techniques as punning, oxymoron, and hyperbole are employed by ad-men to lure customers for their clients. [See also Tables 1, 2, and 3.] The pun is a figure of speech which consists of deliberately confusing similar words or phrases for rhetorical effect and playing with the several possible meanings that many words have. Websters dictionary defines a pun as the humorous use of a word or phrase so as to emphasize or suggest its different meanings or applications, or the use of words that are alike or nearly alike in sound but different in meaning; a play on words (Websters American Family Dictionary, 1998). We may note here in passing that Websters second meaning in this definition is a phrase in its own right with the same meaning and use as the word pun itself. [See Table 1.]

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TABLE 1: Some puns in commercial advertising Brand Product Punch line or slogan The word play

Rotomac

a pen

Your right hand in success First in India to create a sole impact in sport shoes Whenever hunger strikes The fan of India

right 1 correct, suitable; 2 most peoples stronger hand; 3 a play on write and on holding the right pen in ones hand sole 1 the undersurface of a shoe; 2 single, one, only; 3 a play on the uniqueness of the product(s) in question strikes 1 (verb) happens; 2 (noun) deliberate work stoppages fan 1 a devotee of an activity or of a particular performer; 2 an apparatus with rotating blades suit 1 be appropriate for; 2 a set of mens garments

Phoenix

shoes

Perk Khaitan

a bar of chocolate a fan

BSL

suitings

suits real men

An oxymoron is a figure of speech that combines two contradictory terms. The word is from Greek and its meaning is itself oxymoronic: oxy- sharp, moron dull. Ad-men tend to like the rhetorical effect of contradiction: for example, Matiz is the brand name of a car, and an advertising line used for it is oxymoronic: The Big Small Car (a phrase which suggests that it may be small but it packs a punch and is roomy as well). Comparably, the LML Select II is a scooter which, the ad-men claim, moves you standing still, thrills you on the move. Hyperbole is another poetic or literary device used by designers of ads for deliberate effect, as in the following ad for gold jewellery:

Product name Mustafa Gold Mart, Jewellery1 Advertising copy Add some real spark to the festival of lights this year. Take home the jewellery of your desire at never before easy buying options. Only Mustafa makes sure that the golden smile always stays with you. Punch line Our fireworks sparkle forever.

The use of adjectives and adverbs in distinctive ways is a key part of the language of advertising. Writers of ads will do whatever is likely to help sell the product, and do not hesitate to set aside both lexical appropriateness and grammaticality to get some high-level socio-

Fig 1: Two ads showing the use of hyperbolic English

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TABLE 2: Exaggeration in ads Brand name Product Punch-line

BPL Philips Sansui Four Square King Raymond MRF Gillette Vector Plus Dukes Indigo Plus Veega Land Nokia Premier

a television set a television set a television set cigarettes Suitings Tyres razor blade a kind of biscuit a car an amusement park a cell phone A mixer grinder

Believe in the Best Lets make things Better Better than the Best Live Life Kingsize The complete man The ultimate riding experience The best a man can get Full tank energy Because we like to carry our world with us Excitement as never before See new, Hear new, Feel new Cute smarter life partner

TABLE 3: A hybrid style Brand name Product Punch-line

Kungumam Amul Shakti Coromandel super power Gold Winner Maruti Johnsons Pepsi Krackjack Dukes Kishkintha Point little master Onida Junior Horlicks Sunsilk Sowbagya Amrutanjan Dragon Sprite Mirinda

The Tamil Weekly a health drink cement vegetable fat a car a baby powder a soft drink a biscuit a biscuit an amusement park a wet grinder television a health drink shampoo wet grinder Liquid Balm a soft drink a soft drink

Best Kannaa Best Ippothu tasteil health marainthulathu Miga cirantha blended cement* Qualityaana Vanaspathi Yellaame fit pannirum Baby soft sarumam idayathai thirudividum Intha ullam kekuthey more Oru ticketla rendu jolly Asaiku No tada Once more polaamaa daddy Size perusu prize sirusu Oxygen illama life yedu Yana brain romba special aache Smooth and silky, kalai mudal iravu varai Maavu araikirathu romba easy Vegamaana Action udanadi Relief ini thalaivalikku bye bye Cleara irrukkaa Jollyku taste ithaandaa

psycholinguistic effects. For instance, the adjective smart may appear in such phrases as smart nutrients, smart wash, smart kitchen*,

and smart financial solutions, and ads make unstinted use of superlatives. To show that their brand is superior, the language employed

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to fascinate consumers is full of superlatives and comparatives. A lexicon is used in the ads that provides a remarkably positive and persuasive description of the product. The abundant use of strong adjectives gives them a glowingly attractive description (Leech, 1966). Exaggeration, intended to create a strong impression or for emphasis, is visibly used in umpteen numbers of ads these days. Umpteen present-day products claim to surpass all their rivals not only in their captivating ads but also by branding their products by means of powerful names incorporating particularly potent English words, as in: All Out (mosquito repellent), Clinic All Clear (a shampoo), Surf Excel (a washing powder), Rin Supreme (soap for washing), and Ultra Clearsil (a cream for pimples) are some such product names. The language used in advertising is powerful, linguistically attractive words being used to attract customers attention. Indeed, at times linguistic violations are adopted and atypical language used. Ad 1
Product name Body of copy Samsung, Home Appliances They PINning, They WINning So why you waiting? Samsung BUYing, PIN SMSing, Prize WINning. Samsung PINning Toh Winning offer

tional, in order to get an audience used to jingles and rhymes. Young adults and teenagers are fascinated by anything that promises them an exciting experience and fun, as the following ad for Limca demonstrates. Ad 2
Product name Jingle Punchline Limca (a soft drink) Fun times, Limca times Crazy thirst, lazy thirst Veri Veri lime n lemoni

Punchline

Breaking grammatical rules is a popular and successful strategy among advertisers, who find it valuable and advantageous because it helps in marketing. The violations are inten-

This ad promises energy, youthfulness and a relaxed mood, while the spelling of very is veri and of lemony is lemoni: all these and the shortened n in effect cater to the lingo of teenagers, the rhyme crazy and lazy has a jingling effect, and the alliterative list lime, lemoni, lazy and limca flows strongly. Rulebreaking of this kind helps the advertisement draw the reader directly back to the product. Comparably, the advertisement for the soft drink Slice shows a boy playing pranks and teasing a girl during their schooldays. The climax however shows the boy (much later) proposing to her by putting a ring in the soft drink and she notices the ring only after coming to the end of the drink. Although the girl enjoys the boys naughtiness she can sometimes be irritated by it. The boy gets fun out of irritating the girl and the punchline says Simple joysin adhiga rasanai (more excitement). Here joysin is a typographical adaptation of joys in, perhaps suggesting that the two of them have been together from childhood and will remain together all their lives, jointly (joysin).

Fig 2: The use of ungrammatical language for the sake of rhyming

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The English used in such advertising is simple and colloquial, not formal and complex. It uses imperative verb forms (such as see, watch, use), second-person pronouns (you, your), and indeed clichs (now or never; never before) to hold the consumers attention and interest. The English language is a marvellous tool in the hands of such ad-makers: an entire madeto-order vocabulary used to sell the sizzle rather than the steak (Pei, 1970). And, throughout, there is a degree of domination by English in Tamil advertising in both commercials and print.

A mixed style: bilingual ads

The media recognize the importance of bilingualism. Advertisers make creative efforts to target bilinguals through the mixed code they use. Such code-mixing is the transfer of linguistic units across languages, is a common technique in India, and has a potent rhetorical effect. It is part of the ad-mens desire to be creative: to add colour to a message, fill possible language gaps, and persuade consumers in the right direction. English words pepper ads in the vernacular languages of India and are not baffling to an average educated Indian. As Kachru (1994) puts it, English continues to contribute lexical stocks to various languages. Besides the lexical gaps that particularly moti-

vate borrowing, two other reasons that Kachru cites are the social neutrality of English and a perception that English is effective. In India it is a language of prestige, so that dropping an English word into a Tamil ad is felt as more persuasive. The mixing of two or more linguistic systems is also not unusual in Tamil advertising, and with English the advertisers can think and act both global and local at the same time (Bhatia, 2000). The two scripts, English and Tamil, are used in the products and in company names or labels and sometimes even in the linguistic message or punch line. Ads 3 to 9, below, amply display such a use of English words in Tamil ads that are written in Tamil script. Ad 3
Product name Punch line Translation Mirinda, Soft drink Vaayukku kudu nalla use. Put your mouth to proper use.

Ad 4
Product name Punch line Translation Tractor Emulsion paint Idu paarka mattum thaan costly. It only appears to be costly.

Ad 5
Product name Punch line Cinthol soap pala thalaimuraigalaaga ungal skin specialist.

Fig 3: Mixed language (Cinthol, Crystal and Coromandel cement)

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Fig 4: English words in Tamil script (Pankajakasturi, Airtel)

Translation Your skin specialist for several generations. Prince Jewellery ammi midikka ready aana oru condition. Im ready to step on the grinding stone [a custom in Tamil Hindu marriage] but on one condition. Nokia, a cell phone Punch line Translation one touchil connect aagidungal. [mixed language, Tamil script] Get connected in one touch.

Ad 6
Product name Punch line Translation

Ad 8
Product name Punch line Translation Crystal, Innerwear Unga stylee maaridum. [mixed language, Tamil script] Your style will change.

Ad 7
Product name

Ad 9
Product name Venus, Water heater

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Fig 5: Dinamalar: Mixed script

Punch line Translation Differentaana Idea (mixed language, roman script) A different idea. Translation Punch line Network problem? Change today to Airtel. [English] Best network. Best rate. [in Tamil script]

In the original versions of the above ads, the punch line is entirely in Tamil script, including the English words use, costly, skin specialist, ready and condition, at times with Tamil grammatical adjuncts, as in touchil , stylee, differentaana. In the following ads, the punch line is entirely in Tamil script. Ad 10
Product name Punch line Complan, a health drink [roman script] [English] Extra Growing Power [in Tamil script] RmKv Sarees Indha Colour Promise [mixed language, roman script] This colour promise

Ad 11
Product name Punch line Translation

Use of English in the Tamil media enlarges and exploits the available stylistic range, and makes the language appealing. Instead of one language with some borrowings here and there two entire hybridizing codes become available, enabling a wide range of novel combinations. Even so, however, English is restricted to single words and short phrases, and the success of an ad depends on such attention-getters as metaphor and hyperbole (cf. Vestergaard & Schroder 1985) as well as rhyme, rhythm, assonance, consonance, and alliteration (cf. Cook 1992, Grunig 1990). The purpose of the English in Tamil ads is to attract attention, as in ads 13 (above) and 14 (below), in which popular Tamil actors sing or narrate the qualities of a product in mixed language. Ad 14

Ad 12
Product name Punch line Pankajakasthuri [traditional Ayurvedic medicine] [English] Breathe Easy [in Tamil script]

Product Song

Ad 13
Product name Body copy Airtel [Mobile services] Network prachanaiya? Maarungal indre Airtelukku.

Fair and Handsome (in English: a skin cream) Pengal fairness cream yeduthu aiaiaiyaa use pannaada Fair and handsome yaarukku? Yedaiyum moodi maraikkaatha aanukku. Dont use girls fairness cream, For who is fair and handsome?

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Punchline

For a man who doesnt hide anything. Hai Handsome, Hai Handsome.

Translation

Ad 15
Product Copy Coca Cola ...intha drink romba safe, so ungalukku yeppolam thonutho intha coca cola kudichi enjoy pannunga. (mixed narration) This drink is very safe, so whenever you feel [like it] drink Coca Cola and enjoy.

We will get a treat out of you, or We will buy a treat/biscuit: (the expression being capable of interpretation in two ways)

Ad 18
Product Punch line Translation BIG 92.7 FM, Radio Ketkalaam, Pesalaam, Life Kondadalaam [in mixed script] You can listen, you can speak, you can enjoy life.

Translation

Just about every product that is manufactured in Tamil Nadu or in any other part of the country or is imported has its name written in English. A mix of Tamil and English is seen even in advertisements for local household goods. Indeed, even in domestic and household matters that are culturally sensitive a mix of Tamil and English in advertising is becoming a norm. This style of advertisement has also crept into some products associated with Tamil tradition, such as pattu saree (a local kind of sari). A Tamil classical singer who appears in the advertisement for Pothys Paramparaa Pattu hums a classical raga followed by a popular Tamil film song whose tune is based on that raga. She continues: But I like this. Paarambariyathudan pudusu kalanda applause thaan. Yennaku pattu yevulavu pidikumo pattum avulavu pidikum(I like pattu and song equally), going on to describe the qualities of the sari, which is the product of a combination of traditional pattu and a modern synthetic uppata jacquard. This ad represents a fusion of classical and popular Tamil music, of kinds of more or less traditional garments, and of the Tamil and English languages. The examples 1619 have their slogan or punch line written in a mixed script: that is, some of the punch line is written in English and some in Tamil. Ad 16
Product Punch line Translation Dinamalar, a newspaper [name in Tamil script] Sundaynaa rendu [mixed languages and scripts] On Sunday its two.

Ad 19
Product Punch line Translation Veet, hair remover Semma (smooth, in mixed script) Very smooth.

Table 3 contains a list of ads that mix Tamil and English words and sometimes scripts.

Conclusion
Advertisements take the liberty of modifying and distorting the language to suit their purpose. When the verbal hypnotism of the advertising succeeds, brushing with Colgate becomes a toothsome treat. The advertisers skill dwells in presenting facts in a slanting way. The advertising agencies are said to be creative departments of verbal magic and verbal skulduggery (cf. Hayakawa, 1990). The present study provides evidence that English is pervasive in Tamil advertising. The volume of English that appears in Tamil ads demonstrates that consumers must have a knowledge of English sufficient enough for them to make informed choices. Some ads do not rely entirely on English or Tamil but on the two coexisting on an equal footing. Though some words and phrases can be easily rendered in Tamil, English seems to be preferred. There is no one-to-one correspondence between linguistic choices and the advertising function in most of the ads. English is used in a Tamil advertisement as a communicative strategy with various motivations. In the print and visual media we can see its domination. English is used to address the reader as an international, career-oriented worker. Words and phrases such as tomorrow and future technologies suggest that the reader is future-oriented: being an English-knowing, English-using Indian is one of the most significant characteristics of being modern in India today.

Ad 17
Product Punch line Britannia Cream Biscuits Treat thaan vaangiduvome [in mixed script]

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English in advertising has become a part of culture and is not even perceived as an extraordinary event by lay people. Mixing English with Indian languages is a mechanism for constructing modernity: for bilinguals, it is not an alien language but part of their active verbal repertoire. The use of English with its innovations creates a space for hybridity in which the global uses of English help create local effects (Bhatt 2003). Bilinguals of this kind are not passive consumers of so-called canonical Standard English varieties, but active participants in the process of creating localized uses of English. Indian commercials are notably influenced by English, which is used in abundance because it provides creativity and novelty. English in TV commercials both reflects the lingo of the present-day generation, serves as an attention-getter, and fulfils sociological, linguistic, and psychological functions in the discourse of advertising. In such a bilingual environment ad-makers have a versatile repertoire of varieties at their disposal. Advertising fascinates most people. It flirts with their lives, seduces them, and leaves them with images and dreams. To fulfil such dreams, people work harder, earn more and then spend more (Tiwari, 2003). On one side is the use of English for linguistic innovation, as a communicative strategy, while on the other is the issue of greater or less intelligibility. How intelligible are these ads to the uneducated or less educated who have not had much direct exposure to English? Whether the ads are understood fully or partly or not at all by their intended readers is a highly debatable issue. Yet they continue to be used. References
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