1. Adapted from Hill, Scott. “Prose Analysis: Diction”

2. When this matters: Whenever you need to do any of the following:  Discuss or analyze how “the language” of a passage or poem achieves some effect.  Analyze the “techniques” or “poetic devices” used to achieve some effect.  Answer a question that specifically mentions the word “diction.” Two Parts of Analysis:  The term “diction” covers a lot of ground, but here is a somewhat simplified way to approach it.

3. High or Formal:  Dignified, elevated, and perhaps impersonal. Elaborate, or sophisticated vocabulary. In some cases, “high style” can refer to grammar, or syntax, that has been manipulated for an artistic effect—that is, the grammar calls attention to itself. Polysyllabic. Middle or Neutral:  Follows rules of grammar and uses common, unexceptional vocabulary. Think grammar books. The grammar and vocabulary are meant to be transparent, easily understood. Low or Informal:  Plain language of everyday use, including slang, jargon, vulgarity, and dialect. Monosyllabic.

4.  One thing that is really impressive is having a large bank of words that you know that you can use to characterize the different kinds of diction. You can use this stuff when fashioning terribly impressive thesis statements—even from simple observations! That is what the following notes are for. Many of these descriptors can be used to describe syntax as well as diction. High, Formal Style  Cultured Learned Pretentious Archaic Scholarly Pedantic Ornate Elegant Flowery, etc. Middle, Neutral Style  Unadorned Plain Detached Simple, etc. Low, Informal Style  Abrupt Terse Laconic Homespun Colloquial Vulgar Slang Jargon, etc.

5.  In addition to falling somewhere on the above scale, an author’s word choice will fall somewhere on a scale between the two poles of denotation, a word’s dictionary meaning, or connotation, the more metaphorical or poetic usage of words.  The word itself may be rich with connotations (associated contexts or multiple meanings), and/or the way the word is used may invite consideration beyond the literal, as in a pun or double entendre. And sometimes, a cigar is just a cigar.

6.  Language can also fall somewhere on the following scale. Few word choices are purely denotative, of course, but they are connotative to varying degrees. Speak of a passage as being “highly connotative” or "largely denotative" (or figurative / literal). Denotative or Literal Language  Exact Journalistic Straightforward Connotative or Figurative Language  Poetic Lyrical Symbolic Metaphoric Obscure Sensuous Grotesque Picturesque

7. Abstract/Concrete and/or General/Specific  In addition, an author’s language will fall somewhere on a scale between the poles of abstract and concrete language. That is, do they write about stuff you can hold in your hands (concrete), or stuff you can only hold in your head (abstract)? The Music  Do the words sound nice? If so, you can talk about the euphony of the passage.. If it sounds harsh, talk about cacophony and the relationship to meaning. This is also an opportunity to talk about rhyme, rhythm, onomatopoeia, alliteration, assonance, etc. Figures of Speech  You know all these, right? Personification, Metaphor, Paradox, Alliteration, etc. Quiz: if you notice a lot of this, is the word choice more "denotative" or "connotative"? What else can you think of?

8. First:  Don’t respond to a prompt by saying that the author “uses diction.” You are saying nothing if you say that. Everyone who writes or speaks uses “word choice”—your job is to characterize that word choice.

9. Step One: Levels of Formality  “Do” a close reading on the passage, first identifying any unusual or characteristic words. If there are none, you are probably reading something with a “middle style.”  If words stand out, you should be able to decide whether the passage leans to the high or low styles. If so, pick a snazzy vocab word to describe what kind of high or low diction it is. Step Two: Connotation  Examine how the words appear to be used—do they seem to be used like poetry, with lots of external, thematic meanings attached, or are they more literal, like a straightforward action story?  Once you decide which way it leans, connotative or denotative, pick some vocab words that characterize the diction more specifically. Step Three: Everything else  Ask yourself about abstraction/ concreteness, what figures of speech you see, and the sounds of the language. Step Four: Purpose  Sit back for a moment and ask yourself what purpose the word choice appears to be fulfilling.  For example, you can always say that it sets a tone—just make sure you have some words ready to describe that tone.  Also consider whether the word choice is having an effect on character, symbol/theme, setting, etc.

10. FORMULA:  In [name of work], [Author] writes in a [connotation] [level of formality] style. His/her use of [connotation vocab] and [level of formality vocab] language [achieves x purpose]. EXAMPLE: In "Letter from a Birmingham Jail," Martin Luther King, Jr., writes in a relatively denotative formal style. His intellectual vocabulary contributes to a dignity of tone, while the lack of euphemism underscores the seriousness of his intention.

11.  Words are symbols of ideas, but they do not begin to “say” anything until we put them together. Sentences, which are syntactical units composed by words, “say” something, partly because of the lexical content (the meaning) of the words and partly because of the grammatical forms that govern words put together in patterns. (Cohen).  Syntactical patterns such as words organized around the mental associations of the poem’s speaker, rhetorical persuasiveness which suggest a carefully worded argument to persuade the audience, syntax designed for poetic smoothness or abruptness—all are intended to be expressive. “They intensify our experience in reading poetry and prose; they alert us to meanings that go beyond individual words and sentences to include the intellectual and emotional implications of unusual verbal arrangements” (Sherbert).

12.  What are the tangible devices which the author may have manipulated to create an emotional or intellectual effect?  How does the author organize the words to create meaning and effect?  Analyzing the way in which the meaning has been communicated to us and the effect it has on us allows us to more fully appreciate the author’s work in crafting that piece of literature.

13.  Unusual (inverted) or unexpected word order. Poets in particular are fond of inverting word order to make it sound “poetic”, rather than just ordinary speech.  Look at the opening line of Robert Frost’s poem “Stopping by Woods on a Snowy Evening”: “Whose woods these are I think I know.” Frost has avoided conventional word order by reversing the two units of four words (I think I know whose woods these are).  Sentence length (especially variations in the length of sentences)  Punctuation. Where do commas, semi-colons, and periods fall within the sentence? What is the relationship between punctuation and stanzas in a poem?  Perspective (point of view)  Interruptions  Parallel structure (creates balance and emphasis—“I came, I saw, I conquered.”)  Use of similar words (for example, a series of sentences or lines of poetry beginning with participles—running, jumping, sliding—give a sense of continuous motion)  A shift in word order (generally signals an important idea)  Word order that imitates the action the words describe (mimetic syntax).

14. Me up at does out of the floor quietly Stare a poisoned mouse still who alive is asking What have I done that You wouldn’t have

15.  The preceding poem is by the Modernist poet ee cummings. Read the poem carefully. Then write a well developed essay in which you analyze how the poet employs literary techniques to develop a complex meaning. You may wish to consider such elements as structure, imagery, and tone.

16. Me up at does out of the floor quietly Stare a poisoned mouse still who alive is asking What have I done that You wouldn’t have  1. The poem might best be described as  A. a recollection of an infested house  B. a protest against pest control  C. a series of epiphanies  D. a commentary on inequalities in society  2. The mouse feels _____ toward the speaker.  A. indignation  B. condemnation  C. terror  D. fury

17. Me up at does out of the floor quietly Stare a poisoned mouse still who alive is asking What have I done that You wouldn’t have  3. The speaker in the poem views the mouse primarily in terms of  4. Looking into the mouse’s eye allows the speaker to experience all of the following EXCEPT  5. Lines 6-7 include the following