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

Music and the Leit Motif in crossroads       Throughout William Shakespeares settlement, many leit motifs were seen. If the description of a allegorical symbol was employ for the concept of a leit motif, music was a leit motif in Hamlet.  Music was repetitively brought up, in the play, and was also used by Shakespeare as a means of portraying the concept of being played upon.  The flute was used to illustrate how Hamlet and Claudius played upon new(prenominal)s and each other.  Ophelia and other characters sang while they were mad, or dealing with mad characters. The use of music in Hamlet tied in with the concepts of Apolonian rhythm 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 hunt in for the idea of one playing upon another was seen in Act 4 Sc. 1, on lines 25-38. At this point in the play, Hamlet was confronted by Gui ldenstern, as Guildenstern made 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 skill (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  study instances of characters were seen were one character played upon another.  The first 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 critical point where the player king was brought back to life.  The play tied the leit