햄릿의 피리, 셰익스피어의 음악적 설계

Abstract

Music is the imitation of will itself, and all the inner states of man can be expressed through infinite melodies. Shakespeare uses the pipe, which inherits the tradition of aulos used at the Dionysus festival in ancient Greece, to connect the life and death of Hamlet. He uses the pipe to reflect the inner world of man, producing a semantic system that penetrates throughout his work, and achieves a tragic overview. He reinforces the time and space of his work and sublimates it into the synesthesia domain through sensible and spiritual effects as well as mythological imagination of the pipe, using it as an important mechanism to complete the aesthetics of tragedy. Hamlet’s pipe evolves into variations including Ophelia’s song and the digging clowns’ songs. It also mediates and integrates the confrontations and conflicts of traditional duality and implies a world of diverse possibilities. As in myths, the pipe moves toward tragedy as a stronger aesthetic demand in the archetypical symbolism toward death and is concluded in death as primitive unity. These elements show the counterpoint technique that was developed actively in his days. Even though the sound of the pipe is never heard, it serves as through bass to support the entire piece of work. Hamlet’s pipe performs fully the roles of a Renaissance instrument to represent the style of existence directly through reflection on the essence of wandering existence. In addition, it solidifies the work by connecting the tragic protagonist to music and presents the perfect reproduction of synthetic art in Greece.