Taking into consideration Meschonnic’s theory of rhythm, as well as some fundamental and interrelated notions related to Meschonnic’s conception of rhythm (namely: signifiance, ta’amisation, recitative), this article will reflect on the main characteristics of the ‘parole-écriture’ of Meschonnic’s translations of the Bible to highlight the “subject-force”. With the help of some examples taken from Meschonnic’s translations, which Leopizzi will approach with the analysis of the recitative as her target, and thus disregarding the potentially translational questions related to the relationship between the source text and the target text (which Meschonnic occasionally examined in the paratextual apparat of his translations), she will illustrate the main aspects of the subjectivation of discourse.