Leitmotif

There is no leitmotif.

In Wagner's operas, especially his cycle of four operas known collectively as the Ring cycle, the leitmotif did not simply label or point to one particular character or object but rather conjured up a realm of ideas.

People have pointed out the influence of Wagner’s music on my work. Certainly I do not disclaim this influence. In particular, I followed Wagner in the use of the leitmotif, which I carried over into the work of language.

If one looks for a pattern in the political life of John Connally, one finds a leitmotif of scandals which threatened but never destroyed his career.

Mann's adaptation of Wagner's technique and its development throughout his writing is analysed, including how Mann uses the leitmotif in a naturalistic, characterising and mechanical sense in Buddenbrooks, attaching it to persons and situations as etiquettes.

Such language about an American president from a European ally would have been unthinkable before Mr. Trump made outrage the leitmotif of his presidency, along with an assault on truth.