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A double entendre [note 1] (plural double entendres) is a figure of speech or a particular way of wording that is devised to have a double meaning, one of which is typically obvious, and the other often conveys a message that would be too socially unacceptable, or offensive to state directly.
For example, the second clause can be read as "fruit travels through the air similar to a banana" or as "certain insects enjoy a banana". This is an example of a garden-path sentence , a phrase that the reader or listener normally begins to parse according to one grammatical structure, and is then forced to back up and reparse when the sentence ...
Repetition is the essential comedic device and is often used in combination with other devices to reinforce them. The "callback" in comedy writing—in which a statement or theme is recalled as the punchline or close of a scene—is a classic example of the tension and release that are possible using repetition. It is also the basis for ...
The phrase "said the actress to the bishop" is a colloquial British exclamation, offering humour by serving as a punch line that exposes an unintended double entendre. An equivalent phrase in North America is "that's what she said". [1] The versatility of such phrases, and their popularity, lead some to consider them clichéd. [2]
Examples of word play include puns, phonetic mix-ups such as spoonerisms, obscure words and meanings, clever rhetorical excursions, oddly formed sentences, double entendres, and telling character names (such as in the play The Importance of Being Earnest, Ernest being a given name that sounds exactly like the adjective earnest).
The result was a playful tune titled “Double Shot (of My Baby’s Love).” Filled with as many double entendres as the duo could cram in, the song went on to become, in the words of Bruce ...
"That Black Snake Moan" is a song written and recorded by American country blues musician Blind Lemon Jefferson. [1] Inspired by singer Victoria Spivey's "Black Snake Blues", the song was released on Paramount Records in 1926, and has since become recognized as a signature composition which exemplifies Jefferson's unconventional melodic style and utilization of double entendres. [1]
Caitlin Clark couldn't hold in her laughter after teammate Lexie Hull's accidental double entendre in a press conference following an Indiana Fever game.