ANDRESNIPORESAS
The rhythm, the sound in the story.
few days ago we had a little discussion about adverbs in mind. We took by the fact that Gabriel García Márquez avoids it. Today, reflecting on the stories, our stories, I stumbled upon the pace, with the sound. And I thought the reason why an adverb in mind is hateful to GGMárquez is because of its dual emphasis.
The adverb so often has two accents and break the sound of the text, break their musicality. And who knows Gabo, avoid them. Let
. A text has accents prosodic and spelling (accents). Are strategically placed to read rhythm and sound. If we give the impression that the action is fast, fast, never utilies cuatrisílabas words, rather monosyllabic or disyllabic, to cause the accents are so close and cause a rhythm, a cadence faster.
If you have the patience to replace a word by a series of Os (ooo) and accented it or replacing the stressed syllable, we check if our letter or not a rate. The pace, like it or not repetition cadence.
Ancient already knew and the Greco-Roman lines and there are names that define the so-called "feet." That the dactyl, iambic, trochee, etc..
Consider the beginning of Don Quixote. "Somewhere in La Mancha whose name I do not remember." Rhythmic transcription: oooo or oooo oooo oo oo o oo. And if you count the syllables would have two time periods: a spot = 8 syllables. Whose name I do not want-to cordate = 11 syllables.
is, Cervantes uses a combination of eight-syllable and eleven-syllable to the beginning of Don Quixote. That is, looking for a rhythm, a cadence, a sequence.
Perhaps this is a foolish erudition, but there are texts that read well because they have some musical and some are jerks. Pythagoras said it best: all music, everything is mathematical.
Here comes the train / and the clear trumpet sound. (Music total).
25/08/2007, 13:15 Posts
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