Music and the Leit Motif in Hamlet :: Free GCSE Coursework

Music and the Leit Motif in crossroads       Throughout William Shakespeares Hamlet, legion(predicate) leit motifs were seen. If the definition of a allegorical symbol was used for the concept of a leit motif, melody was a leit motif in Hamlet.  Music was repetitively brought up, in the quicken, and was also used by Shakespeare as a means of characterization the concept of being plyed upon.  The flute was used to illustrate how Hamlet and Claudius vie upon others and each other.  Ophelia and other characters sang while they were mad, or dealings with mad characters. The use of music in Hamlet tied in with the concepts of Apolonian verse Dionysian, spying and lying, madness, poetry verse prose, and the burden of revenge on a thinking man.    Possibly the most obvious case of music being used as a lead in for the conception of one playing upon another was seen in Act 4 Sc. 1, on lines 25-38. At this point in the play, Hamlet was confron ted by Guildenstern, as Guildenstern do an attempt to spy on Hamlet.  Hamlet countered Guildensterns inquiry when he questioned him as to if he could not play a pipe, how could Guildenstern expect to play Hamlet, when he stated You would play upon medo you think I am easier to be played on than a pipe? Call me what instrument you will, you cannot play upon me. (Act 3. Sc. 2. Ln. 394-402).  Hamlet then likened flute playing to lying, when he stated that It is as easy as lying. (Act 3. Sc. 2 Ln. 387)  Though Guildenstern attempted to play upon Hamlet, it was a futile attempt, as even Guildenstern admitted that he did not have the dexterity (Act 3. Sc. 2. Ln. 392) to play upon Hamlet.    If being played upon was linked to music through the previously mentioned scene, three other  major instances of characters were seen were one character played upon another.  The jump of these cases, were Hamlet put on the play to trick Claudius, was also in Act 3 Scene 2.  Hamlet put on the play to prove to himself that the ghosts words were true and that Claudius did indeed kill his father.  Claudius was successfully played upon when he stormed out of the play at the exact point where the thespian king was brought back to life.  The play tied the leit