Quotes about diction

A collection of quotes on the topic of diction, language, poet, well.

Quotes about diction

“When I speak, my Urdu isn’t very good but when I sing I make sure there are no flaws in my diction.”

Lata Mangeshkar (1929) Indian singer

“I absolutely reject the premise there is anything wrong with Black people “talking white”. It is as if to vast swathes of the privileged white left and impoverished Black community diction, education and a mastery of thought is somehow “white”… comrade, how wrong you are to say that after decades in academia I’m acting white. I’m being black. I’m being black everyday a cop pulls my car over for a “routine stop”, I’m being black each time I look in the mirror, and I’m damn well being black when I school young fools out of the myth our race is too ill-evolved to be both black and accomplished.”

Elaine Brown (1943) American activist

People, Education, School, Fools

“When Sam Goldwyn can with great conviction
instruct Anna Sten in diction,
then Anna shows,
Anything goes!”

Samuel Goldwyn (1879–1974) American film producer (1879-1974).

Cole Porter, Anything Goes.
About

“We cannot avoid
Using power,
Cannot escape the compulsion
To afflict the world,
So let us, cautious in diction
And mighty in contradiction,
Love powerfully.”

Martin Buber (1878–1965) German Jewish Existentialist philosopher and theologian

"Power and Love" (1926)
Context: p> Every morning
I shall concern myself anew about the boundary
Between the love-deed-Yes and the power-deed-No
And pressing forward honor reality.We cannot avoid
Using power,
Cannot escape the compulsion
To afflict the world,
So let us, cautious in diction
And mighty in contradiction,
Love powerfully.</p

Love, World, Affliction

“The school of art which Hulme started and Pound established.. diction, rhythm and metre were fully emancipated from formal artifice and the poet was free to act creatively under the laws of his own origination.”

Herbert Read (1893–1968) English anarchist, poet, and critic of literature and art

Form in Modern Poetry(1932)

School, Law, Art

“The person who is going to preach ought to live in the Christian thoughts and ideas: they ought to be his daily life. If so – this is the view of Christianity – then you, too, will have eloquence enough and precisely that which is needed when you speak extemporaneously without specific preparation. However, it is fallacious eloquence if someone, without otherwise occupying himself with, without living in these thoughts, once in a while sits down and laboriously collects such thoughts, perhaps in the field of literature, and then works them into a well-composed discourse, which is then committed to memory and delivered superbly, with respect both to voice and diction and gestures.”

Sören Kierkegaard book For Self-Examination

Soren Kierkegaard, For Self-Examination, Hong p. 10
1850s, For Self-Examination (1851), What is Required in Order to Look at Oneself with True Blessing in the Mirror of the Word?

Life, Literature, Idea, Memory

“Strong language in Larkin is put in not to shock the reader but to define the narrator's personality. When Larkin's narrator in 'A Study of Reading Habits' (in The Whitsun Weddings) said 'Books are a load of crap' there were critics - some of them, incredibly, among his more appreciative - who allowed themselves to believe that Larkin was expressing his own opinion. (Kingsley Amis had the same kind of trouble, perhaps from the same kind of people, when he let Jim Dixon cast aspersions on Mozart.) It should be obvious at long last, however, that the diction describes the speaker.”

Clive James (1939–2019) Australian author, critic, broadcaster, poet, translator and memoirist

'Philip Larkin: 'Wolves of Memory'
Essays and reviews, At the Pillars of Hercules (1979)

People, Books, Study, Wedding

“The original dispute was one of poetic diction… From an interest in the minor problem of poetic diction I was led to see that the problem was really one of a suitable medium for all branches of Chinese literature. The question now became: In what language shall the New China produce its future literature? My answer was: The classical language, so long dead, can never be the medium of a living literature of a living nation; the future literature of China must be written in the living language of the people. "No dead language can produce a living literature." And the living language I proposed as the only possible medium of the future literature of China, was the pei-hau, the vulgar tongue of the vast majority of the population, the language which, in the last 500 years, had produced the numerous novels read and loved by the people, though despised by the men of letters. I wanted this much despised vulgar tongue of the people and the novels to be elevated to the position of the national language of China, to the position enjoyed by all the modern national languages in Europe.”

Hu Shih (1891–1962) Chinese philosopher, essayist and diplomat

The Chinese Renaissance (Chicago: University of Chicago Press, 1934), p. 50

Love, Men, People, Literature

“Men have begun to observe and classify, they turn from creation to Criticism. … It is the Fashion to be a wit. … one must be able to conceal indecency with elegant diction; manners are everything, morals nothing.”

James Branch Cabell (1879–1958) American author

"The Comedies of William Congreve" in William and Mary College Monthly (September 1897), V, p. 41, as quoted in "James Branch Cabell at William and Mary: the Education of a Novelist," by William L. Godshalk in The William and Mary Review, 5 (1967); reprinted in Kalki, Vol II, No.4, Whole No.8 (1968) http://www.silverstallion.karkeeweb.com/kalki_archives/kalki_from.html

Men, Fashion

“It is impossible for a poet to fashion the voice deliberately by contrivance and experiment; it could not be discovered or simulated through the cultivation of an eccentric diction or prosody, or by the employment of regional speech rhythms and patterns.”

Vernon Scannell (1922–2007) British boxer and poet

A Proper Gentleman, 1977

Fashion

“However well equipped our language, it can never be forearmed against all possible cases that may arise and call for description: fact is richer than diction.”

J. L. Austin (1911–1960) English philosopher

Source: Philosophical Papers (1979), p. 195.

“Tagore claims that the first time he experienced the thrill of poetry was when he encountered the children’s rhyme ‘Jal pare/pata nare’ (‘Rain falls / The leaf trembles') in Iswarchandra Vidyasagar’s Bengali primer Barna Parichay (Introducing the Alphabet). There are at least two revealing things about this citation. The first is that, as Bengali scholars have remarked, Tagore’s memory, and predilection, lead him to misquote and rewrite the lines. The actual rhyme is in sadhu bhasha, or ‘high’ Bengali: ‘Jal paritechhe / pata naritechhe’ (‘Rain falleth / the leaf trembleth’). This is precisely the sort of diction that Tagore chose for the English Gitanjali, which, with its thees and thous, has so tried our patience. Yet, as a Bengali poet, Tagore’s instinct was to simplify, and to draw language closer to speech. The other reason the lines of the rhyme are noteworthy, especially with regard to Tagore, is – despite their deceptively logical progression – their non-consecutive character. ‘Rain falls’ and ‘the leaf trembles’ are two independent, stand-alone observations: they don’t necessarily have to follow each other. It’s a feature of poetry commented upon by William Empson in Some Versions of Pastoral: that it’s a genre that can get away with seamlessly joining two lines which are linked, otherwise, tenuously.”

Amit Chaudhuri (1962) contemporary Indian-English novelist

On Tagore: Reading the Poet Today (2012)

Children, Memory, Time, Drawing

“What is new poetry? The difference is not mere details of form, measure rhyme schemes or diction, but a return to contemporary speech, thought, imagination and spiritual life, coupled with oriental (Japan & China) and cosmopolitan influences, and a direction of vision, with perfection of form and delicacy of feeling.”

Harriet Monroe (1860–1936) American poet and editor

The New Poetry -An anthology ed Monroe & Henderson Macmillan 1918
The New Poetry (1918)

Life, Feeling, Imagination, Perfection

“My diction, my choice of words, is as precise as I can make it. The images that I use, the evocation of the senses, again, relies upon a certain exactitude. You can see how what I did with language as a poet would bleed into what I did as a lawyer, vice-versa…”

Martín Espada (1957) Puerto Rican poet

On how his correlates the language of a poet with practicing law in “The Writer’s Block Transcripts: A Q&A with Martin Espada” https://www.sampsoniaway.org/interviews/2015/12/11/the-writers-block-transcripts-a-qa-with-martin-espada/ in Sampsonia Way (2015 Dec 11)

Making love, Sense

“In order to be heard by the oppressing class, one must speak as a member of it. Not only the language, but the diction. The accusation of tyranny, however well-founded in fact, is dismissed unless it is delivered in the manner that power recognizes as powerful.”

Daniel Abraham (1969) speculative fiction writer from the United States

Source: Nemesis Games (2015), Chapter 21 (p. 223)