Parte prima: il ritmo del testo letterario.

1. Parte prima: il ritmo del testo letterario.

2. 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.

3. 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.

4. 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.

5. 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

6. 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//

7. 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

8. 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

9. 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