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In this connection it may be interesting to refer to the use of the "leit-motiv" in modern music.
The Emperor is a man of principle; and as expediency, in a world of change, is a note of Conservatism, so, in the same world, is principle the leit-motiv of Liberalism.
Certain catch-words, which incorporate a recurrent mood of character or situation, are repeated over and over again throughout the course of his dialogue. The result is often similar to that attained by Wagner, in his music-dramas, through the iteration of a leit-motiv.
There was no leit-motiv, no attempt to reflect the passionate emotion of the drama, but a great deal of Southern joy, of flutes and wood and wind. At a rehearsal which had lasted far into the night I asked Sir Julius, who was very old, if he wasn't sleepy. "Sleepy! Good heavens, no! I never sleep more than two hours. It's the end of my life, and I don't want to waste it in sleep!"
Certain modern authors have developed a phase of emphasis by iteration which is similar to the employment of the leit-motiv in the music-dramas of Richard Wagner. In the Wagnerian operas a certain musical theme is devoted to each of the characters, and is woven into the score whenever the character appears.
"The salary I gave up to marry your son was more money than you ever saw." And through it all, like a leit-motiv, ran Hugo's attempt at pacification: "Now, Ma! Don't, Lil. You'll only excite yourself. What's got into you two women?" It was after dinner. In the end Ma Mandle slammed out of the house, hatless. Her old legs were trembling. Her hands shook. It was a hot June night.
Certain modern authors have developed a phase of emphasis by iteration which is similar to the employment of the leit-motiv in the music-dramas of Richard Wagner. In the Wagnerian operas a certain musical theme is devoted to each of the characters, and is woven into the score whenever the character appears.
In 'Der Fliegende Holländer' Wagner first puts to the proof the Leit-Motiv, or guiding theme, the use of which forms, as it were, the base upon which the entire structure of his later works rests.
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