L'Impressionismo di Ernest Hemingway/Romanzi impressionistici: differenze tra le versioni
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Riga 82:
with me on the trip. This one coming now makes the same voyage I do. Come on, Comrade Voyager. Come striding. Come right along. Come along to meet it. Come on. Keep on walking. Don't slow up. Come right along. Come as thou art coming. Don't stop and look at those. That's right. Don't even look down. Keep on coming with your eyes forward. Look, he has a moustache. What do you think of that? He runs to a moustache, the Comrade Voyager. He is a captain. Look at his sleeves. I said he was caza mayor. He has the face of an Inglès. Look. With a red face and blond hair and blue eyes. With no cap on and his moustache is yellow. With blue eyes. With pale blue eyes. With pale blue eyes with something wrong with them. With pale blue eyes that don't focus. Close enough. Too close. Yes, Comrade
Voyager. Take it, Comrade Voyager.<ref>''For Whom the Bell Tolls'', p. 319.</ref>}}
Qui stiamo effettivamente vedendo l'azione attraverso gli occhi di El Sordo, il principale partecipante. Quanto sembra reale! Ecco cosa ha detto Harry Levin a proposito di questa sequenza: "La prosa qui si avvicina il più possibile al conflitto fisico. La figura si ingrandisce man mano che avanza, l'impressione accelera e diventa chiara e nitida, quasi insopportabile, dopodiché viene oscurata dal fucile di El Sordo. Ogni frase tronca, ogni periodo preposizionale, è come un nuovo fotogramma in una striscia di pellicola; infatti l'intero passaggio, come tanti altri, potrebbe essere filmato dalla telecamera e proiettato sullo schermo."<ref>Levin, p. 601. Neanche il [[w:Per chi suona la campana (film)|film]] che venne prodotto in seguito riesce a presentare delle scene così vivide e immediate.</ref>
Levin ha afferrato il punto essenziale che rende questo passaggio così efficace: l'effetto a cascata di frasi brevi e periodi preposizionali fa continuare l'azione veloce fino a quando El Sardo non spara.
Un altro esempio in cui il lettore sembra essere un partecipante all'azione è questa sezione tratta da ''A Farewell to Arms'', quando il Sottotenente Henry è ferito:
{{q|I ate the end of my piece of cheese and took a swallow of wine. Through the other noise I heard a cough, then came the chuh-chuh-chuh-chuh – then there was a flash, as when a blast-furnace door is swung open, and a roar that started white and went red and on and on in a rushing wind. I tried to breathe but my breath would not come and I felt myself rush bodily out of myself and out and out and out and all the time bodily in the wind. I went out swiftly, all of myself, and I knew I was dead and that it had all been a mistake to think you just died. Then I floated, and instead of going on I felt myself slide back. I breathed and I was back. The ground was torn up and in front of my head there was a splintered beam of wood. In the jolt of my head I heard somebody crying. I thought somebody was screaming. I tried to move but I could not move. I heard the machine-guns and rifles firing across the river and all along the river. There was a great splashing and I saw the starshells go up and burst and float whitely and rockets going up and heard the bombs, all this in a moment, and then I heard close to me someone saying "Mama Mia! Oh, Mama Mia!" I pulled and twisted and got my legs loose finally and turned around and touched him. It was Passini and when I touched him he screamed.<ref>''A Farewell to Arms'', p. 54</ref>}}
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