Parte prima: il ritmo del testo
letterario.
Unità melodica
• L’ UM è rintracciabile nel complesso equilibrio di
gruppi fonici e sintattici che compongono un brano di
prosa;
• Valore e portata delle unità melodiche sono in
rapporto con la loro estensione sillabica.
• UM come parte significativa del discorso, con una
forma musicale, limitata o definita da due pause di
silenzio;
• le pause possono avere lunghezza variabile; possono o
meno coincidere con segni di interpunzione del testo
scritto.
I segni d’interpunzione (pause lunghe, brevi, medie)
delimitano una porzione di testo e denotano
un’emissione fonica continua, senza interruzione.
Il passaggio da unità a unità compone la sequenza
melodica della frase, e dà al discorso una forma
musicale.
The weather continued much the same all the following
morning; and the same loneliness, and the same
melancholy, seemed to reign at Hartfield; but in the
afternoon it cleared; the wind changed into a softer
quarter; the clouds were carried off; the sun appeared; it
was summer again. With all the eagerness which such a
transition gives, Emma resolved to be out of doors as soon
as possible. Never had the exquisite sight, smell, sensation
of nature, tranquil, warm, and brilliant after a storm, been
more attractive to her. She longed for the serenity they
might gradually introduce; and on Mr Perry’s coming in
soon after dinner, with a disengaged hour to give her
father, she lost no time in hurrying into the shrubbery.
The weather continued much the same all the
following morning; and the same loneliness, and
the same melancholy, seemed to reign at
Hartfield; but in the afternoon it cleared; the wind
changed into a softer quarter; the clouds were
carried off; the sun appeared; it was summer
again.
16// 6/7/6/8/10/6/4/6//
With all the eagerness which such a transition
gives, Emma resolved to be out of doors as soon
as possible.
13/14
Never had the exquisite sight, smell, sensation of
nature, tranquil, warm, and brilliant after a storm,
been more attractive to her.
8/1/6/2/1/7/7//
She longed for the serenity they might gradually
introduce; and on Mr Perry’s coming in soon after
dinner, with a disengaged hour to give her father,
she lost no time in hurrying into the shrubbery.
15/14/11/12//
Emma could not bear to give him pain. He was
wishing to confide in her – perhaps to consult her;
cost her what it would, she would listen. She
might assist his resolution, or reconcile him to it;
she might give just praise to Harriet, or, by
representing to him his own independence, relieve
him from that state of indecision which must be
more intolerable than any alternative to such a
mind as his. They had reached the house.
9//9/6/5/3//9/7/8/1/13/32//5
Emma non poteva tollerare di addolorarlo. Egli
desiderava di confidarsi con lei – forse di
consultarla – qualunque cosa dovesse costarle,
essa doveva ascoltare. Avrebbe potuto confortare
la sua decisione, o fare che ci si rassegnasse;
avrebbe potuto tributare le debite lodi a Harriet,
o, argomentando in favore della sua
indipendenza, sollevarlo da quello stato
d’indecisione, che doveva essere più intollerabile
d’ogni alternativa a una mente come la sua.
Frattanto erano giunti alla casa.
9//9/6/5/3//9/7/8/1/13/32//5
16//14/7/11/9//16/10/19/1/17/14/30//12
Ma Emma non poteva tollerare di recargli dolore.
Poiché Mr Knightley desiderava confidarsi a lei... e
forse chiederle consiglio, l’avrebbe ascoltato,
costasse quel che costasse. Poteva confortarlo
nella decisione, o riconciliarlo con essa: poteva
rendere a Harriet l’omaggio dovuto o,
richiamandolo alla sua indipendenza, liberarlo da
uno stato d’indecisione certo più intollerabile, per
una mente come la sua, di qualunque alternativa.
Erano davanti a casa:
9//9/6/5/3//9/7/8/1/13/32//5
18//16/9/7/8//13/9/16/13/23/9/9//9