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You can say a lot in a little time, if you stick to words of one syllable.

 

Lois McMaster Bujold

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Well, I think it is accidental. It’s just something I started doing naturally and it had a lot to do with reading. I think that Dylan Thomas, his prose and poetry, was a big influence on me. Just his use of words… He would use so many odd words: like these three- and four-syllable words that you just don’t normally hear. And they’re not used in a manner that sets the text apart from the reader. Rather they’re drawing the reader in. It’s entirely based on the alliteration of the word itself—onomatopoeia and things like that. I feel like a lot of the words I use don’t stick out in the song because they keep the feel of the song in mind. The rhythm—that’s the primary thing. They’re put in there for rhythm and alliteration as much as they are for meaning. And as long as they are not used extraneously, they’re real lightning rods for people listening to the lyrics. If the words are really helping out the rhythm of the song then all they’re going to do is draw the listener in even more

 

Colin Meloy

 

We throw sticks at dogs, that's the level we have dogs at. You'd never dream of throwing one for a cat. We throw sticks for dogs, and dogs go, "Oh, he's dropped his stick! I better go and get that. [mimes chasing after the stick] Saw you dropped your stick there, thought I'd bring it back. And you – hang on! [mimes giving the stick back and follows it with eyes as it's thrown again] Did you see me just bring that back? And then you … you dropped it again? This is very weird. I don't know what's going on here. [mimes bringing the stick back again] Now, hang on to it this time, I don't want to piss about all the time. You think I enjoy this? There you … don't f**king throw it!" That's why the third time, when they come back, they won't give it to you. They go, [through clenched teeth] "No … I won't let you take it!"

 

Eddie Izzard

 

Still haunted by Haiku, and tried my hand at it, but I fall pitifully short of the Wordsworthian touch. But failure in this realm turned my mind to an old enthusiasm of mine, the Welsh englyn. This verse form was derived by the Welsh from the inscriptions which their Roman conquerors put on tombs ... A good englym must have four lines, of ten, then six, syllables, the last two lines having seven syllables each. In the first line there must be a break after the seventh, eighth, or ninth syllable, and the rhyme with the second line comes at this break; but the tenth syllable of the first line must either rhyme or be in assonance with the middle of the second line. The last two lines must rhyme with the first rhyme in the first line, but the third or fourth line must rhyme on a weak syllable. Got that?

 

Robertson Davies

 

Hegel's philosophy is so odd that one would not have expected him to be able to get sane men to accept it, but he did. He set it out with so much obscurity that people thought it must be profound. It can quite easily be expounded lucidly in words of one syllable, but then its absurdity becomes obvious.

 

Georg Wilhelm Friedrich Hegel

 

Can the ear hear a thirteen-syllable line as consisting of thirteen syllables? I don't think so, but I think that a series of thirteen-syllable lines (supposing that was the length chosen) would, after a while, begin to have a characteristic resemblance. For the most part, though, counting the syllables seems to be something that works, if it works, for the poet. It is a private method of organization.

 

James Fenton