Eugene O'neill plus the the Vitality of Misfortune a Comparison Survey on Mourning Turns into Electra and Oresteia

 Essay regarding Eugene O’neill and the the Rebirth of Tragedy a Comparative Survey on Mourning Becomes Electra and Oresteia

Eugene Gladstone O'Neill is one of the very best American playwrights, he is reputed for plays including " Very long Day's Quest into Night”, ”Beyond the Horizon” (1920), " Ould - Christie” (1922), " Strange Interlude” (1928), " Grieving Becomes Electra”(1931)and The Iceman Cometh (1946). His plays probe the American Dream, race contact, class issues, sexuality, man aspirations and psychoanalysis. He often became immersed inside the modernist moves of his time as he primarily wanted to create " modern American drama” that will rival the truly great works of European modernists such as Ibsen, Strindberg and G. B. Shaw. O'Neill was a superb admirer of classical theater and as a new man he previously read Friedrich Nietzsche's work about the origin of Greek tragedy, consequently he was incredibly familiar with this issue and the methods of rendering. The ideas of the The german language critique and philosopher led his dramatic works, by which he manifested the ability to adjust the understanding characteristics of the classical disaster to a contemporary script and audience. Hence, it is not surprising that we face God Dionysus in " Lazarus Laughed” (1928) or an variation of Oedipus' character in " Desire Under the Elms(1924). As for " Mourning Becomes Electra” (1931), O'Neill explores Greek disaster, attempting to modernize it. The play will be based upon Aeschylus's trilogy The Oresteia (though it truly is closer to Sophocles' Electra than to Aeschylus' plays). In a 1931 notification to drama critic Creeks Atkinson, O'Neill wrote, " Greek critique is as remote from all of us as the art this criticizes. What we should need is a definition of Contemporary and not Time-honored Tragedy in which to guide the judgments” (Letters 19886: 390). The play (a three set made up of three plays) looks at a post-Civil War American family. The scene in " Grieving Becomes Electra” is laid on a thoroughly chosen setting- a city in New England, immediately after the Civil Warfare. It is exceptional whatsoever that O'Neill established the story against these kinds of a historic background that were previously selected for the setting of great American books by writers such as T. Faulkner or perhaps Nathaniel Hawthorne. It is well known that the To the south was the support of American nobility, which after the Civil Conflict underwent a severe rot, thus providing a suitable weather for re-creating a Ancient greek tragedy.. The plot in the first two parts of the trilogy- Homecoming and the The Hunted closely follows the pattern from the events defined in Agamemnon and the The Libation Bearers (Greek: Χοηφόροι, Choēphoroi): Ezra Mannon (Agamemnon) who had merely come back through the war was killed simply by his better half –Christine (Clitemnestra) with the help of her lover, captain Adam Brant(Aegisthus); further about Lavinia (Electra), the Mannons' daughter, forces her sibling Orin(Oreste) to punish the murder of their father. The Erinnyes[1] take the shape of chaos in Orin's case, when he feels responsible for the death of his mother and he is haunted by the emotions of remorse and sorrow. The third section of the trilogy may differ at some magnitude, as Orin kills himself while Oreste is exonerated of his guilt. There are many other details that are totally different from Aeschylus' three set: for instance, Ezra Mannon failed to sacrifice Iphigenia before giving, his loss of life and that of other characters is also several: the sword is changed by the toxic, and the matricide was a suicide caused by the son's perform. However , regardless of all these dissimilarities, O'Neill largely maintains the plotline of the Greek trilogy. Besides the story, O'Neill preserves elements of " Oresteia” like the use of goggles, which permits him to individualize the tragic heroes from that with the anonymous group of the Chorus. All of the Mannons are referred to as having a very peculiar appearance which reminds of a face mask, just all their eyes apparently have a particular vitality: ”Her face can be unusual, one is struck at the same time by the unusual impression it gives in paix of being not really living flesh but a wonderfully...

Bibliography: - O'Neill, Eugene, Complete Plays 1921-1931, The Library of America, 1995

- Aeschylus, Oresteia, [EBook #1441]

-Normand Merlin, Eugene O'Neill, London, Macmillan, 1982

-Thomas E

[4] O'Neill, Eugene, Total Plays 1921-1931, The Library of America, 1995

[5]

[6] O'Neill, Eugene, Complete Plays 1921-1931, The Collection of America, 1995

[7]

[10] Normand Merlin, Eugene O'Neill, London, uk, Macmillan, 1982, p. one hundred ten.

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