Bob Dylan is, in essence and in fact, a song lyricist who has a particularly strong gift for the poetic effect, while Cohen is a poet in the most coherent sense; he had published several volumes of poetry and published two novels prior to his taking up the guitar. Dylan's style is definitely the definition of the postmodern jam session, a splendid mash up of Little Richard, Hank Williams, Chuck Berry and a long line of obscure or anonymous folk singers who's music he heard and absorbed. His lyrics, however arcane and tempered with Surreal and Symbolist trappings--although the trappings, in themselves, were frequently artful and inspired--he labored to the pulse of the chord progression, the tight couplets, the strict obedience to a rock and roll beat. This is the particular reason he is so much more quotable than Cohen has turned out to be; the songwriter's instinct is to get your attention and keep it and to have you humming the refrain and singing the chorus as you walks away from the music player to attend to other task.
Chances are that you are likely to continue humming along with the music while you work, on your break, on the drive home, for the remains of the day. This is not to insist that Cohen is not quotable or of equal worth--I am in agreement that Cohen, in general, is the superior writer to Dylan, and is more expert at presenting a persona that is believably engaged with the heartaches, pains and dread-festooned pleasures his songs take place. His lyrics are more measured, balanced, and less exclamatory and time wasting, and exhibit a superior sense of irony. Cohen is the literary figure, the genuine article, which comes to songwriting with both his limitations and his considerable gifts. All is to say that Dylan has Tin Pan Alley throwing a large shadow over his work. Cohen, in turn, is next to a very large bottle of ink and a quill. Cohen tends the words he uses more than Dylan does; his language is strange and abstruse at times, but beyond the oddity of the existences he sets upon his canvas there exist an element that is persuasive, alluring, masterfully wrought with a writing, from the page alone, that blends all the attendant aspects of Cohen’s stressed worldliness– sexuality, religious ecstasy, the burden of his whiteness– into a whole , subtly argued, minutely detailed, expertly layered with just so many fine, exacting touches of language.
His songs, which I fine the finest of the late 20th century in English–only Dylan, Costello, Mitchell and Paul Simon, have comparable bodies of work–we find more attention given to the effect of every word and phrase that’s applied to his themes, his story lines. In many writer over all. Unlike Dylan, who has been indiscriminate for the last thirty ways I would say Cohen is a better lyricist than Dylan because he’s a better years about the quality of work he’s released, there is scarcely anything in Cohen’s songbook that wasn’t less than considered, pondered over, measured for effect and the achievement of the cultivated ambiguity that made you yearn for some of the sweet agony that accompanies a permanent residence in the half lit zone between the sacred and the profane.