Creole speech integrated three modes of plantation expression into music

Evidence

It is notjust literature. When we examine how speech functions in this Plantation reaIrn, we observe that there are several almost codified types of expression. Direct, elementary speech, articulating the rudimentary language necessary to get work done; stifled speech, corresponding to the· silence of this world in which knowing how to read and write is forbidden; deferred or disguised speech, in which men and women who are gagged keep their words close. The Creole language integrated these three rnodes and made themjazz. — Édouard Glissant, Poetics of Relation, 414

Categorization

• DEFINE: Defines the three codified speech types of the Plantation — direct, stifled, deferred/disguised — that Creole fused.
• XREF: The ‘deferred or disguised speech’ of the gagged connects to the reader’s mechanism question of whether detour/ruse/opacity is available only as collective practice, echoing Glissant and Scott’s weapons of the weak. — connects to: Plantation music turned stifled speech forms into a world language — Édouard Glissant, Poetics of Relation, 415; Creole integrated work speech, forbidden speech, and deferred speech into one musical tongue — Édouard Glissant, Poetics of Relation, 414
• ADDENDUM: The gaged-speaker motif — speech deferred into coded form — parallels the immodesty-panic idea that dress/speech codes are regulated by class power.

Broader Connections

• Creole integrated work speech, forbidden speech, and deferred speech into one musical tongue #expands (0.95) — Édouard Glissant, Poetics of Relation, 414
• Plantation music turned stifled speech forms into a world language #corroborates (0.90) — Édouard Glissant, Poetics of Relation, 415