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An anomaly in the setting of the second quatrain, however, cannot be ascribed to artistic nonchalance.
It reminded one of that snide definition of a sonnet as having three quatrains and a couplet but no poetry.
Chapter 4 discusses the authenticity of the quatrains.
The poetic stanzas change from quatrains to tercets to couplets, quickening the pace of the dialogue.
Release from this somatic obsession comes only in the last quatrain, when the ascending chromatic tritone figure disappears altogether from the ostinato.
Then quatrain 2 is restated, in the tonic, but recomposed to make an exuberant ending.
Overall, the uniformity of the thematic material expresses a single affect centred on the first quatrain.
Cabalettas by tradition rarely exceed eight lines, usually divided into two quatrains.
The first quatrain, stated in the tonic, ends with a long passage of coloratura.
In the exposition (bars 24-48) the two quatrains are set to tonic and dominant paragraphs respectively, with each line of text sung to a two-bar phrase.
The courtiers' invasive gaze is mirrored on one level by the typographical intrusion - the stage direction that disrupts the conventional mise en page of the two quatrains.
Quatrain 1 is stated in the tonic, quatrain 1 is repeated in the dominant, quatrain 2 is stated in the tonic, quatrain 1 is repeated in the tonic.
Mozart begins the first quatrain by depicting three separate emotional states in a strikingly discontinuous texture.
That is a very simple little quatrain but it does seem to me that it might have a moral for us here to-day.
Each line of the quatrain has the basic pattern of seven syllables, with a caesura occurring after the first four syllables.
