Without commentary, two observations about voice:
Mel Gussow: What kind of playwright are you?
Tom Stoppard: In general terms, I'm not a playwright who is interested in character with a capital K and psychology with a capital S. I'm a playwright interested in ideas and forced to invent characters to express those ideas. All my people speak the same way, with the same cadences and sentence structures. They speak as I do. When I write an African president into a play, I have to contrive to have him the only African president who speaks like me.
MG: What if you were writing an American play?
TS: All the Americans would have to be educated at Sandhurst or Christchurch - Rhodes scholars discussing John Wayne.
MG: Doesn't that limit you?
TS: It limits me in areas I'm not interested in expanding.
Mel Gussow: Conversations with Stoppard
July 1979 interview
Nowadays the journalistic critical cliché about a young poet is to say that "he has found his own voice," the emphasis being on his differentness, on the uniqueness of his voice, on the fact that he sound like nobody else. But the Elizabethans at their best as well as at their worst are always sounding like each other. They did not search much after uniqueness of voice....It would hardly have struck them that a style could be used for display of personality.
Introduction to Selected Poems of Fulke Greville
(as quoted by Colm Tóibín The New York Review of Books, Jan. 14, 2010)